{"numero_id": "bm-bmtnaau-1908-09-01", "volume": "bmtnaau_1908-09_01", "ocr_sha256": "3a09836d007ccc3d477e831ac2f93c301a21793669f8e4572bbdf0880a50876f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/09_01/bmtnaau_1908-09_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/09_01/bmtnaau_1908-09_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01", "articles": [{"article_id": "bm-bmtnaau-1908-09-01-c002", "article_bluemountain": "bmtnaau_1908-09_01#c002", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[128]", "page_fin": "[128]", "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=bmtnaau190809-01.2.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "JULIUS OLIVER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[128]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 43, "texte": "DESIGN FOR A STAGE SCENE. by JULIUS OLIVER."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c003", "article_bluemountain": "bmtnaau_1908-09_01#c003", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "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=bmtnaau190809-01.2.3", "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": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.5", "debut_caractere": 165, "fin_caractere_exclue": 674, "texte": "CONTENTS\nAFTER THE PRACTISE THE THEORY\nj£> A NOTE ON A STAGE SCENE by THE DESIGNER -<S> YVETTE\nGUILBERT, AN IMPRESSION by HALDANE MACFALL ROGUES AND VAGABONDS £>\nTHE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS by E. W. GODWIN\nTWO WORDS AND THEIR MEANING A NOTE ON AN OLD ENGRAVING, by ALLEN\nCARRIC 0 \" BEAUTY IN ART by NIETZSCHE SHAKESPEARE'S PLAYS by GORDON\nCRAIG BOOK REVIEWS £> FOREIGN NOTES £> EDITORIAL NOTES & ENGRAVINGS\nby GORDON CRAIG, J. OLIVER, CHARLES BORROW, C. TICKETTS & OTHERS. JSf £>"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c004", "article_bluemountain": "bmtnaau_1908-09_01#c004", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "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=bmtnaau190809-01.2.4", "titre_corps": "A NOTE ON A STAGE SCENE", "titre_sommaire": "A NOTE ON A STAGE SCENE", "signature_source": "E. 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": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.5", "debut_caractere": 676, "fin_caractere_exclue": 2790, "texte": "A NOTE ON A STAGE SCENE\nE. W. Godwin.\nHpo be misunderstood may be to be great. To misunderstand is only deliberate carelessness.\n& A design for a stage scene should need no explanation:... but where is the harm in\ntrying to make a thing clearer by words when the design itself has failed ? & The failure\nis not mine: it is yours, and I don't for an instant believe you will understand it a scrap\nbetter after you have read this note. But you will feel that something is wrong with you\nand that is all I want you to feel.\nTo begin with, this is only a design for a scene and not the scene itself. The language\nof a scene differs from a design on paper. 1 have translated the scene freely and not with\nan exactness demanded by the Berlitz School. Look at it freely and without that brain\nsnobbery which deadens the gaiety of life and all will be well. Be content not to understand\nit all at once and we shall be friends. But if you look at it through a film of quite\nunnecessary bitterness awakened by the delusion that you are being fooled, then you will\nbe utterly nonplussed and the thing will make you furious or bitter or disdainful. &\n& I would prevent this if possible. What is it ? Only what you like to make it. If you can't\nhang a thought on it give it up. If you can it will perhaps repay you. Best if you find\nit to be one of the following things. A scene expressing the idea of two forces, mobility\nand immobility,... or.... it is a scene representing the city of Troy in flames,... or.... a scene\nfram Shakespeare's Troilus and Cressida in all its accuracy of detail, period B. C. II84»900.\nThe pillar in the foreground is one of the supports of the door of that period: that in the\nmiddle distance another and in the background you can see the walls. Flames and smoke\ncomplete the design.\n& You may take your choice as to which of these three solutions you accept, but as I have\nnow given you a choice you can no longer accuse yourself of not being able to understand it.\nTHE DESIGNER.\nof costume, etc, in pictures, whether on canvas or on the stage, should be\neither altogether wrong or wholly right."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c007", "article_bluemountain": "bmtnaau_1908-09_01#c007", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "133", "image_debut": 6, "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=bmtnaau190809-01.2.5", "titre_corps": "YVETTE GUILBERT : An Impression by Haldane Macfall", "titre_sommaire": "YVETTE GUILBERT : An Impression by Haldane Macfall", "signature_source": "Haldane Macfall", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 4188, "texte": "YVETTE GUILBERT\nAn Impression\nby Haldane Macfall.\nuddenly a hoarse roar of welcome bursts from the gloom\nbeyond the orchestra, betraying the dim throng that sits\ndensely packed in the dark hollow of the theatre of\nvarieties, and there steps quickly before the footlights\nwith a pretty touch of the shoulders and smiling at the\nclamour of their greeting,... Yvette Guilbert. As she\nstands radiant there in white there enters almost stealthily\na young man in evening dress, a dandified fellow, his\nhair brushed back from the cleanshaven face, his dress\nof an early Victorian picturesqueness that proclaims the\nFrench student of the artists' quarter, and seats himself\nat the piano. &\nThe thunder increases and {alls away; rises again; and again conies the gust of acclaim:\nYvette Guilbert! She bends her ringletted head of chesnut coloured hair, and bows in her\nwide crinolined skirts of white silken fulness, sprigs of roses clustered upon them; and\nsmiles a strange smile in answer to the salutation of a hoarse-throated applause. A little\ninvoluntarily the brows gather as though in nervous distress at the prolonged din. Her\nhand, gloved only to the wrist of the white arm in the quaint habit of a bygone day, is\nheld out to hush the hails of the multitude. It creates stilly silence. Yvette Guilbert\nannounces \" Les Cloches de Nantes \". & & &\nThe voice has that husky note of the dramatic utterance.... they all have it, Ellen Terry,\nYvette Guilbert, Duse, all. The piano sends out a ripple of lightly struck chords upon the\nexpectant hush. And she, archly tossing her head, lilts the opening lines of the old\nFrench ballad.\n& At once the actress is in possession of the house. Almost before the first note is fully\nuttered, that dramatic voice and absolute gesture have gripped the heart; quickly the old\nballad comes back to life, fragrant with the aroma of ancient days. Romance has stepped\ninto this lime-lit place. The years roll back; and we are sighing with the jailor's\ndaughter where she gazes, her eyes tear-wet, upon the empty cell that she has helped to\nmake a part of the aching void in her heart.... nerves thrill, the lip quivers; there leaps\nstraight into our stilled imagination the haunting picture, and takes possession there. &\nIn the prison of Nantes there is prisoner, a prisoner whom no one EVER goes to see\nbut the daughter of the turnkey. Ah! ah! ah! - Ah! ah! ah!.... Whom no one ever goes to\nsee but the daughter of the turnkey, she who takes hiin water to drink, water to drink,\nand food to eat. Ah! ah! ah! - Ah! ah! ah!....\"Ah me! since tomorrow I die, strike the fetters\nfrom my feet. Strike - the fetters - from = my feet\".... All the bells of Nantes got them\na-ringing: Ah! ah! ah! - Ah! ah! ah! All the bells of Nantes got them a-ringing.... The little\nmaid's a young thing. She begins to cry. Ah! ah! ah! - Ah! ah! ah!.... The little maid's a\na young thing She frees his feet a-weeping ...She - frees = his feet - a=weeping.\nQuick the prisoner with a bound leaps into the river. Hey! hey! hey!.... Hey! hey! hey! Leaps\ninto the river So here's to girls of Nantes! Likewise to all prisoners! Ho! ho! hey!....\nHa! ha! hah!\nJZ> Ay; in those all too few swift speeding minutes of song, by her magic, just standing\nthere in that quaint fantastic garb that in no slightest degree aids her in creating the\npictured thing, the art's skill of this wonderful woman has banished space and time and\nthe dark hushed world of eager faces in the surrounding gloom, and we are back to the\nyears and air and pathetic winsomeness of the old tragi-comedy. We leap into the tide\nthat flows by the walls of Nantes, and eagerly, as with the cramped limbs of the prisoner,\nwe are breasting that flow to the sea, and all the while, sounds the carillon of bells, that\npeal above the town of Nantes, now sad, now triumphant, now eager, now sobbing, running\nlike litany through all the vision, yet even as the youth stands free, drinking to the\njailor's daughter, the carillon contracts one's heart, for there are tears in the eyes of the\ngirl who bows her head in the empty cell..,, alone, & *\n\nHer entrance.\nHer voice.\n\" I,es cloches de\nNantes .\nThe achievement\nof her magic."}, {"page_pdf": 7, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 4651, "texte": "& This is supreme acting, the indescribable consummate compelling thing that no mortal\ncan teach; that it is given only to genius to do. No rule nor plummet can measure it;\nno laws produce\n& it has all been roused in us, this vision, so completely that one starts at the thunder\nof applause which leaps at the music's ending. Read the simple lines in cold blood; and\nyou wonder how, from such scant fabric she has woven so rich a tapestry. &\nYvette stands smiling and bowing. & This is no longer the slender Yvette of the\nsimple dress and the long black gloves who was the idol of the students of the Latin\nQuarter « well - but a few years ago, when all's said. Those were the days of the craze\nfor the prison=songs, the devil=me=care lyric, up at Aristide Bruant's cafe, where mine host\nwith rough affectation of brutality and brusquery, accosted one in surly fashion at the\ndoor, then leaping on to the table in his heavy long boots, sang the glories of prisons and\nof jail=birds. You will say that the Yvette of the old French ballad has usurped the Yvette\nof the older ruder fashions = No. The black cap of the ouvrier is on her head, a muffler\nround her throat. A few sombre chords float out upon the smoke laden air; and, at a\nstroke, we are back with Yvette of the old days.... for all the whimsical skirts of the\nvoluminous crinoline. The shoulders are up; the jaw thrust out; and the gutteral voice\nof the hooligan lad of Montmartre, with its emphatic curtness of suggestion and intensity\nof .utterance, sounds roughly across the footlights. &\n& You lean forward, straining to interpret the jargon.... even a cultured Frenchman follows\nthe slang with difficulty. But Yvette's dramatic skill flashes the meaning across the\ntheatre, it is the very statement of the vile soul of the lad, the youth of the factory quarter\nwho knows no honest toil, who indeed schemes ever with the calculated industry of crime\nto evade that toil.\nConceited in his blackuardisms, glorying in what manhood would hide as a thing of\nshame, boasting of bleeding the girls of their money, proud of doing no honest thing in\nhis day, vaunting his coward kick that lays the constable low, arrogant in his lack of\nfriends, gloating in the hate of his fellow men and the fear of his fellow scoundrels, he\nwould have you know that he is no daylight lark, ho! ho! not he. He comes out at\nnightfall, when the rich blokes are out strutting it in their silk hats and evening dress\nwhat? Some fool of them has strolled alone, Gawd help him! I> 11 soon turn out the\nswaggering fellow's pockets, and give him a fright, no fear! And if the fool shows fight,\ndown he '11 go ....what? He's hurt! Gawd!.... where can I put him.... Here! wake up!.... Holy\nmiracle! a constable! Here, get up you fool! wake up, d'ye hear. Caught! my Gawd!\nWhat's this? the judge, and the condemned cell! Morning's near broke » what's that?\ngreat God! the guillotine. They're saluting my head! \" The foul braggart oath and the\nbluster are done. The figure of the terrified lad crouches in terror, the hoarse gutteral\nwords hang in the air.... die out.\nAgain the shout leaps out of the pitchy blackness of the theatre; the black cap and the\nscarf are whipped off and flung aside; Yvette stands up, the illusion vanishes, reluctantly\nit goes, so complete has it been, holding one's senses as in a vice.\nThis I say is supreme acting. How those few rough lines have been made to tell the\nwhole ugly tragedy, to build up the distorted life !\n& Yvette Guilbert, her eyes sparkling mischief, her figure and demeanour all demure, is\ncarolling in English, English with just that delightful childish trace of accent that makes\nour tongue, spoken by the French, the most fascinating of foreign translations, the simple\nhumourous song of \" Mary was a housmaid \" or 6i I wonder when I shall be married, oh,\nbe married \". And with what wealth of suggestion, with what whimsical humour and keen\ninsight, she enriches the meaning of each slightest sylable, until the very hummed lines\ngive out a dramatic meaning in their significant comedy.\nEqually at home in tragedy and comedy, in pathos and in humour, with a skill and style all her\nown is Yvette... the inimitable. Here is a profound actress. By some strange chance she has found\nin a few short lyrics a scope for her genius which yields her a larger field of drama than\nfive acts can win for most full casts. Listen to quite a clever songstress sing the \" Keys of\nHeaven\"; then listen to Yvette Guilbert; and you shall realise the vast gulf that yawns\nbetween genius and talent.\nIt is claimed for Yvette Guilbert that she has found in the old romantic French songs a"}, {"page_pdf": 7, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.7", "debut_caractere": 4674, "fin_caractere_exclue": 4801, "texte": "Supreme acting.\nThe Yvette of\nthe Z, at i n\nQuarter .\nThe song of the\nhooligan lad.\nAn English song\nYvette,.... the\ninimitable."}, {"page_pdf": 8, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 4961, "texte": "higher field for her artistry than was hers before; I cannot bow to this. I never saw her\neven in the very earliest days, but that she was a woman of genius. Whatsoever she touches\nshe makes into a work of art. She is, within the limits imposed upon her by the music hall,\nas supreme a genius as ever stepped the stage. It cannot be otherwise, for it were impossible\nto state with more exquisite beauty and perfection and power the emotion that it is essayed\nto arouse. The gamut of the emotions, (the sole instrument of any artist whatsoever) called\nforth by her, ranges from sordid to sublime tragedy, from low to high comedy, from pathos to\nquaint whimsicality, and she plays each part with unerring surety and finesse; above all\nshe convinces, for whilst she holds the stage we walk by way of her personality throughout\nthe experience of every emotion she would make us feel.\nIt is astounding what sense she wrings from every syllable, from every phrase, of the ballads\nand songs she transmits into dramatic gems. Her pantomime, her inflection of voice, and\nher employment of the utterances of the throat to express the passions and emotions that\nmay be conveyed by words, are a revelation of the power that lies within words. And it\nis precisely in this achievement in this realm that an actor is a creative artist or merely\na clever and accomplished mimic.\nSuccess did not rush scrambling with smirk and smile of welcome, tripping in very eagerness\nover the ribbons of monstrous posies of flowers, to hail the first coming of Yvette Guilbert.\nShe had to battle her way. First came the humiliations that go with hanging about the\ndoors of managers, the aching anxieties that their evasive nod or blunt disapproval meant\nto a young woman with a gaunt figure, and the awkward carriage of the body that had still\nmuch of the gauche slenderness of a girl who has sprung up to womanhood too quickly.\nSuch was Yvette, when all is said. She had, frank truth to tell, not the airs and graces and\nfinished tricks of manner that go to make the battery to win success of the leading ladies of\nthe national theatre. The accent held the slurred drawl that mars for French ears the\nspeech of the industrial faubourgs. And Yvette's quick ears would naturally catch the accent\nof the faubourg du Temple, since there she was born on the 20th of January 1867.\nYet this girl needed but to be cast for an interesting part in order to reveal the powers\nof uttering comedy and tragedy that slumbered behind her ambitions. When Yvette Guilbert\nfirst stepped before the footlights, Paris was without a prophet. At the Nouveautes she\nmade her courtesy to the public in her twenty-second year in a one act play by Albert\nBrasseur. The thrill of facing the footlights was hers alone; neither audience nor manager\nsaw much more than the defects. At the she, however, was playing in the following\nyear with Rejane, Jadic, Baron, Lassouche, and others of a wide vogue; but neither players\nnor public had wits enough to recognise the genius of the slim beginner, so eager for conquest.\nAt last, one fine day, Yvette Guilbert, checked and baffled by the utter lack of recognition\non all hands, saw that the legitimate stage was not going to yield her the position for which\nshe felt certain that she was capable; so it came about that, thanks to an energy that has\nnever failed her, she abandoned the theatre and went straight to the music-hall, boldly\nasking Madame Allemand, the directress of Eldorado for an engagement. Madame Allemand,\nwith her shrewd eye for budding talent, put the young woman through her paces and offered\nthe delighted Yvette twenty four pounds a month! But the public were not used to the\nstyle and the personality of the newcomer and passed her performances by, unapplauding,\nwhich brought regret to Madame Allemand as to her prophecies and suspicions that she\nhad been mistaken in her discovery of a future star in the gaunt girl, so that she was soon\nputting Yvette on the stage at the opening of the evening's entertainement to sing to the\nempty benches, \"wiping the boards\" as the actor's slang has it.^\nAlthough Madame Allemand thus saved the digestions of the later arriving frequenters of\nthe Eldorado from the undue strain of trying to praise what they could not appreciate,\nYvette was not made of the stuff that seeks to cajole misunderstanding and disdain, or is glad\nto be accepted with sufferance. In some distress she protested; and her directress, frankly\nowning that her hopes in the girl had wholly failed, offered to cancel her contract or to\ngive her half her former wage to remain and continue to \" Wipe the boards \" every night.\nYvette, furious, vowed that she would never again sing there until she was offered for every\nevening the twenty-four pounds that they now refused to give her a month, and walked\nout of the Eldorado slamming the door behind her. &\nThe rest of the story is well known. That door slammed also upon Yvette Guilbert's"}, {"page_pdf": 8, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.8", "debut_caractere": 4984, "fin_caractere_exclue": 5070, "texte": "Her early days.\nHer birth .\nHer debut.\nFrom Theatre to\nMusic Hall.\n\"Wiping the\nboards."}, {"page_pdf": 9, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 1758, "texte": "\"wiping of the boards\". She wiped the boards no longer; nor sang to empty benches. At\nthe Concert Parisien she made her hit, and was soon a star, and of the first magnitude.\nIn less than a couple of years from the slamming of that door, Madame Allemand was signing\na contract with Yvette Guilbert to sing for twenty«four pounds a night, and there was no\nclause about wiping the boards..,. At twenty=five she was a sensation. The hoardings soon\nheld posters on which she figured in rare designs by Sautrec; and Steinler has drawn her.\nGood fortune came early to her, as it needs must come to an actress, if ever.\nThe rest of her years have been one long triumph. It was her tireless energy, not her art,\nthat played her false at last. She burnt the candle at both ends, illness struck her down,\nand her life came near to paying the forfeit. But her strong will and love of life overcame\nthe weakness of her frail body; and, having recovered from her nervous breakdown after\na long absence from before the footlights, she reappeared at the Olympia, where she received\nsuch a tumultous ovation, and was so profoundly moved by the enthusiasm, that she lost\nher nerve, was unable to sing, and could only stammer forth the assurance of her happinness\nto be amongst them all again. They shouted for her to sing. \" I beg your pardon \" she\nsaid pathetically \" but.... I cannot\". & & & & & &\nHowever, she soon overcome the nervous strain that had nearly brought her to the grave;\nand has won to fame over the wide world. And it is not the least part of her bright\nachievement that she has breathed life again into the old French ballad that had lain so\nlong forgotten, folded and put away in lavender in the lumber rooms of a great people's\nhistoric and romantic past."}, {"page_pdf": 9, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.9", "debut_caractere": 1784, "fin_caractere_exclue": 1823, "texte": "At the Concert\nParisien.\nHer triump k ."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c009", "article_bluemountain": "bmtnaau_1908-09_01#c009", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "133", "image_debut": 9, "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=bmtnaau190809-01.2.6", "titre_corps": "ROGUES AND VAGABONDS", "titre_sommaire": "ROGUES AND VAGABONDS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.9", "debut_caractere": 1825, "fin_caractere_exclue": 2398, "texte": "ROGUES AND VAGABONDS\nROGUE (French derived from Celtic) French, rogue, \" arrogant, proud,\npresumptuous, rude, surly; \" Cotgrave's Dictionary, Ed: 1660. Compare Modern English\nrogu-ish, saucy. The original sense was a surly fellow; hence a vagabond, derived from\nBreton, rok, rog, arrogant, proud, haughty, brusque. Cf. Irisk rucas, pride. (Doubtful;\nsee Scheler).\nVAGABOND, French derived from Latin. French, vagabond, \" a vagabond; \"\nCotgrave's Dictionary. From Latin, uagabundus, adj., strolling about: derived from\nLatin uaga=ri, to wander; with suffix » bundus. &&£?&&&"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c011", "article_bluemountain": "bmtnaau_1908-09_01#c011", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "139", "image_debut": 10, "image_fin": 15, "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=bmtnaau190809-01.2.7", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3648, "texte": "Six Greek\nPlays . &\nA Mi els u miner\nNight's Dream.\nThe Greek\nelement out-\nweighed.\n\nTHE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\nJncluding the doubtful one, there are no less than five plays\ndevoted more or lass to Greek story and one with a background\nso far deiived from Greece that I take leave to class it with\nthe others. These six plays refer to four different periods, and\nmaybe chronologically arranged as follows:—\nA Midsummer Night's Dream . )\nTroilus and Cressida. ... . j 1184—990\nWinter's Tale\nt- o ... B.C. 430—407\nTimon of Athens\nPericles B.C. 190\nComedy of Errors A.D. 300\nBut in affixing approximate dates for the action to these\ndramas I see no reason why certain of them—namely A\nMidsummer Night's Dream, Winter's Tale, and the Comedy of\nErrors— should not be considered as wholly belonging to\ntheir author's time. & & &\nThe proper names, Athens, Theseus, Hippolyta, /€;gle, Ariadne,\nwhich occur in A Midsummer Night's Dream, are no doubt\neminently Greek, but the woods where the two girls Hermia\nand Helena 44 upon faint primrose beds were wont to lie \" are\nas English as the clowns and the fairies, than which nothing\ncan be more English. The fact that Theseus refers to his\nbattle with the Amazons, and how he first conquered\nand then loved their Queen, Hippolyta, although strictly in\naccordance with the classic legend is hardly sufficient to weigh\ndown the host of improbabilities that crowd the stage when this play is produced with costume,\n&c., in imitation of Greek fashions. Again, when Theseus talks of the livery of a nun,\nshady cloisters, and the like, he is of course distinctly referring to the votaries of Diana;\nand when the ladies and gentlemen swear they swear by pagan deities, although the names\nthey give them are Roman. But Puck and Bottom—nay, even tall Helena and proud Titania\n—each is quite enough to overweigh the Greek element in the play. Still, if it must be\nproduced with classic accessories, we should do well to be true to the little there is of classic\nreference. Thus, although Theseus, in the heroic character we have of him, may be a myth,\nstill the connection of his name with that of fair Helen of Troy brings the man within the\nrange of archaeology. And thus we should be led to place his union with Hippolyta only a\nfew years before the siege of Troy. R>r although the story of the Trojan war was not long\nago regarded by every scholar as fabulous, with no more foundation at the furthest than\nthat which might be derived from the settlement of the Greeks on the north-west coast of\nAsia, now—if we accept as genuine the excavations and discoveries made by Dr. Schliemann—\nwe cannot but have some hesitation before we venture to draw a hard and fast line between\nthe fact and the fiction of the legend, if then the play of A Midsummer Night's Dream\nmust needs be acted, and if it must needs be classically clothed—and there are many reasons\nagainst both ifs—the architecture, costume, and accessories may very well be the same as\nthose in the play of Troilus and Cressida. One thing is or ought to be, quite clear, and\nthat is, that the Acropolis of Athens, as we know it, with its Parthenon, Erectheium, and\nPropvlae, has just about as much relation to the Greeks of the time of Ulysses or Theuses\nas the Reform Club has to King John. We have, indeed, to travel back, not merely beyond\nthe time of the Parthenon (438-420 B.C.), or beyond that of its predecessor (650 B.C.), but\nbeyond the days of Hesiod and Homer (900 B.C.), past the Dorian conquest of the Achaians\nin Peloponn&sos, and so higher up the stream of time until we reach the early period of"}, {"page_pdf": 11, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4590, "texte": "the Pelasgic civilisation. The siege of Troy has been calculated by some to have happened\nB.C. 1194=1184; by others it has been placed as far back as fifteen centuries; that is to say,\nbefore the foundation of Nineveh, and during the Egyptian rule in Assyria. The uncertainty\nthus shown leaves us free to choose between four dates. 1. The time of the author of the\nplay (1600 A.D.). 2, The time of the author of the story (900 B.C.). 3- The date\nassigned by one group of antiquaries to the events recorded in the story (1184 B.C.). 4. The\ndate assigned by some classical scholars as about the period of the siege of Troy (1500 B.C.).\nAs the difference between the latest date suggested for the real siege and the accepted\napproximate date of Homer's story of it is less than three centuries, as the poet may possibly\nhave incorporated into his work much that in his day was received as genuine tradition, as\nboth in Homer and Hesiod we have the most detailed descriptions to guide us, and as it may\nbe possible to reconcile much, if not most of Dr. Schliemann's genuine discoveries with the\ndescriptions, I would accept the period, 1184=900 B.C., in preference to any later or earlier\ntime as that wherein to seek the architecture and costume of the two plays above mentioned.\nA Room in the Palace of Theseus is the only architectural scene in a Midsummer Night's\nDream, and for the character of this interior we must turn to Assyria and Persepolis, to the\ndescriptions of Solomon's Temple and house of the Forest of Lebanon (B.C. 1005), and the\nfragments of Mycense and other Pelasgic towns. (See Layard's \" Nineveh \" and Texier's\n\" Asia Minor\"). >6?\n& In Troilus and Cressida we have in the text twenty-five Scenes, of which five are\narchitectural. These are\n1. Before Priam's palace.\n2. A room in the same.\n3. A street in Troy.\n4. A court before the house of Pandarus*\n5. A room in the same.\nIn the background of many of the scenes outside the town might loom the \" embattled\nwalls, \" the \" lofty towers, \" and the Scaean gate of world-famed Ilium, only it may be as\nwell to bear in mind that what an inhabitant of London, or Paris, or Carcassonne in the\nfourteenth century thought of embattled walls and lofty towers was a very different sort\nof thing from what a Greek understood by these words, for the word topats simply meant\na strong walled building; and thus the pylons of an Egyptian temple and the wings of the\nPropylsea at Athens were equally towers in the Greek sense. The bas-reliefs from\nSennacherib's palace at Koyunjik (B. C. 700) tell us something about embattled walls and\ngates. The walls might be built in regular coursed work, as at Mycenae, or of polygonal\nmasonry, like the street paving discovered on the hill of Hissarlik. Shakspere, like Homer,\ndoes not fail to tell us that one tower was higher than the others (Act I. Sc. 2), but beyond\nthis he says nothing that would illustrate the work classically or mediaevally. The dramatist,\nhowever, marks distinctly the separation between the town of Troy and Ilium—in other\nwords, between the town and the palace of Priam or the Acropolis, the citadel or stronghold,\nor Pergamus, wherein stood not only the King's house, but the temple and the store houses,\nand where also the eastern tower stood, from which the battle-field was overlooked by\nHecuba and Helen. The exaggerations that invariably accumulate round the nucleus of fact\nin all stories of heroic deeds must be allowed for when we come to estimate the evidence\nas to the siaie and arrangement of Troy. If the city really stood on the hill of Hissarlik, and\nDr. Schliemann be right in his conclusions (1) then the city was no larger than many mediaeval\nfortresses with which we are familiar. If, on the other hand, the works exhumed on Hissarlik\nrepresent only the extent of the citadel or Pergamus of Troy, then the boundaries of the city\nitself may be extended on one side (the south) of it, like an Assyrian city, to almost any distance\ncompatible with the probabilities of the case. So, then, for Priam's house we have to choose\nbetween a palace not much better than a pele or border tower, capable of accommodating\nabout twenty people at the utmost, and one arranged after the plan of those at Nimroud\n(B.C. 900), Khorsabad, or Koyunjik. If it be the first, then Homer's language is high faluting\nfrom beginning to end; but if the last be the right view to take of it, then the poet's\ndescriptions may very fairly be examined in any endeavour we may make to realise the\narchitecture of Troy for the scenic purposes of the play of Troilus and Cressida.^"}, {"page_pdf": 11, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.11", "debut_caractere": 4620, "fin_caractere_exclue": 4733, "texte": "The choice of\nthe d ate. <£?\nT r o i 1 u s &\nCressida ♦\nThe city\nof T 1 oy .\n\n(I) See Architect, April 17, 1875)."}, {"page_pdf": 12, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.12", "debut_caractere": 28, "fin_caractere_exclue": 4640, "texte": "In the sixth book of the \" Iliad \" we are told that Priam's stately courts were raised\non columns of stupendous frame, that—\nO' er these a range of marble structure runs\nThe rich pavilions of his fifty sons,\nand that opposite to the sons' lodgings were those devoted to the daughters and their\nhusbands. In the \" Odyssey \" one of the palaces has a high hall with walls of flaming\nbrass, a blue cornice, doors framed of gold set with silver pilasters and lintel; each side\nthe doorway is a dog wrought in silver and gold, and from the threshold skirting the walls\nare thrones or couches reaching—\nin lustrous long array,\nOn to the far room, where the women met,\nWith many a rich robe strewn and woven coverlet.\nThis hall, whose roof=tree is supported on pillars, is lighted for the night feasts by torches\nplaced in the outstretched hands of golden figures of youths raised on pedestals. And in\nthe corridor also are seats or couches against the walls on which beds are made up for\nthe stranger and the guest. Coming to details, we find that the doors are made folding,\nlike the Japanese doors of the present day, and that they are fastened by bolts passing\nthrough silver rings. Bronze and ivory are combined with the metals already mentioned\nin the decoration of the pillars and walls, against which hang various armour and musical\ninstruments. There is, too, one kind of ornament which is constantly recurring, for we\nread of silver and gold studding as a very common mode of decoration applied somewhat\nindiscriminately to costume as well as to furniture and buildings. The stairs leading to the\nupper chambers appear generally to start from near the entrance to the hall, and in the\nlarger palaces it would seem that the buildings were arranged in separate blocks round a\ncommon quadrangle or court.\n& The house of Pandarus would have the usual arrangement of outer court, vestibule,\npillared hall, and stairs leading to the private apartments above. &\nA street in Troy would possess many of these houses more or less capacious, some\nseparated from one another by orchards and gardens, and some doubtless jostled by many\nrough«built tenements of a different class of inhabitants—assuming, that is, that Troy meant\nsomething more than the walled enclosure on the hill of Hissarlik mapped out for us in\nDr. Schliemann's book. For the mise en scene of the drama before us I am disposed to\naccept the grander view, and to take Homer's colouring of things as tolerably literal, after\nallowing for poetical license.\ncostume of Greeks and Trojans in that wide=margined period of time that I selected\nfor the action of Troilus and Cressida, i.e., 1184=900 B.C., is by no means\nready to our hands. We cannot refer as we did for the Merchant of Venice and other\nplays, where the period of the action was taken to be in the author's own time, to illustrated\nguide books of unquestionable authority, like Vecellio, following which it was impossible to\ngo wrong unless by malice aforethought or the crassest ignorance. Nor can we refer, as I\ndid for Cymbeline, to collections of armour, &c., such as that interesting Keltic group\nwhich exists in the British Museum. The earliest Greek vases in the British Museum and\nthe pinax or plate (No. 16 Table, Case B), crude and early as they may be, are yet too late\nfor us by four or five centuries. There may have been, there probably was, far less\nchangeableness in the fashions of building, dress, furniture, ornaments, and implements in\nthose heroic days than in any subsequent period. Three or four centuries, two thousand\nthree hundred years ago, witnessed, I have little doubt, less change in costume than did\nany score of years in the Middle Ages. Still, we must not think, I imagine, as is too often\nsupposed from the way in which Greek things are usually spoken of, that Hellenic art sprung\ninto being fully grown and completely equipped like the blue«eyed maid, Pallas Athene.\nStyles of art, whether in the shape of architecture or costume, sculpture or painting, or\nanything else, have always been a=growing, passing through the usual process of all growth-\nDevelopment, Fulness, Decline. At certain periods of the world's history, and in certain\ncountries, this growth was exceedingly slow, in others exceedingly fast. In the English\nhistorical plays we had to do with the fast. We have now to deal with the slow. Therefore,\nalthough the earliest figure=painted vessels in the First Vase-Room of the Museum may not\ntake us further back than 500 years before Christ, and the sculptures from the Temple at\n\nThe 'Odyssey'\nA Street in Troy\nThe Gre e k &\nTrojan costume."}, {"page_pdf": 13, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4940, "texte": "may lead us certainly to no earlier period, yet by taking these as our point de\ndepa.it, and so going up the stream of time until we reach the north-west palace at Nimroud,\nc. 900 B.C., we may, by the collateral assistance of Homer and Hesiod, together with such\nevidence as may be derived from Keltic remains, be enabled to arrive at something like a\npossible, if not probable, conclusion as to the costume of Achaeans and Trojans in the Heroic\ndays. Nor must we forget the influence of the Phoenicians or Canaanites through the art\nmanufactures of their great trading cities, Tyre and Sidon, when Hiram was King of Tyre\n(1,000 B.C.). &\nAnd now let us first of all turn to Hesiod and Homer. From these we gather, to begin with,\nsuch a wealth of mere material that, quite apart from art, indicates no mean degree of\ncivilisation. Among these we find mention made of gems, gold, silver, brass, tin, steel, iron,\nelectrum (\" Odyssey \"), ivory, fine linen, costly furs, skins, carpets, soft wool, horsehair, and\ncostly scents. The art processes employed were studding, repousse work (1), chasing,\nembroidery, and weaving. If a richly wrought silver urn or goblet was wanted, it was\nsought in the workshop of some Sidonian artist; if the fine products of the loom had to be\nmade all glorious with needlework, it was to the subtle fingers of Sidonian maids they were\nentrusted; and if a lovely colour was desired, it was to Tyre the home manufacturer was\nindebted for its dye. And here we cannot fail to be reminded of a singer who was possibly\na contemporary of Homer's, or at any rate of his father's: — \"All thy garments smell of\nmyrrh, and aloes, and cassia, out of the ivory palaces whereby they have made thee glad....\nUpon thy right hand did stand the Queen in gold of ophir.... And the daughter of Tyre shall\nbe there with a gift.... The King's daughter is all glorious within; her clothing is of wrought\ngold. She shall be brought unto the King in raiment of needlework \". Of colours a natural\nyellowish or toned white (milk white and not snow white) was the most usual for ali woollen\ngarments; the fine linen vests were also mostly white: red, purple, and various yellows\nranging from pale saffron to a green-gold were likewise used, but purple includes blue\n(violet-blue) as well as the royal colour, or purple proper, where the red takes its full\nshare of partnership, and red means a scarlet, or brilliant crimson rather than vermilion:\n\\\n—\" My lips are like a thread of scarlet\" shows by the natural simile the quality of the\n\" scarlet\" here intended by Solomon. As to the several articles of dress, the \" Iliad \"\nsupplies us with minute particulars, and from these we learn that the full armour, which\nwas mostly made of brass, consisted of: —1, the helmet; 2, the thorax or cuirasse over a\nlinen vest; 3, the cuissots or thigh pieces, and 4, the greaves: no mention is anywhere made\nof the leather, felt or metal straps which we find depending from the lower edge of the\ncuirasse in the armed figures on vases of a much later period. Of belts we have three kinds,\nthe zone or waist belt, the sword belt, and the shield belt. Besides the sword and shield\nwe have the spear, the bow, and the iron-studded mace, which last is very suggestive of\nthe morning-star or holy water-sprinkler of mediaeval armouries. The men wore the hair\nlong, and their skin was brown. The costume of the fair sex seems to have depended for\nits effect not so much on quantity as on quality, and more than anything else on the\nproportion, articulation, and undulation of the splendour of human form. The chiton or\ntunic, the broad zone, the diplax, pallium, or mantle sweeping the ground, the peplos or\nveil, the sandals, and the head dress formed a complete toilette, Among their personal\nornaments were ear-rings, diadems or frontals, chains, brooches, and necklaces. £?\nAnd now turn to the actors in this drama. Taking the Greeks first, we have Achilles\npresented to us as golden-haired; his sceptre is starred with gold studs; his greaves are of\nductile tin; his cuissots are of silver; his cuirasse of gold; his fourfold helm of sculptured\n(repousse) brass with a golden crest of horsehair gilded; his shield of gold, silver, brass,\nand tin divided by concentric rings, each divided into four compartments; his sword is of\nbronze starred with gems; and his baldrick is embroidered in various colours. Agamemnon\nwears, when unarmed, a fine linen vest, a purple mantle, embroidered sandals, and a lion's\nskin at night over his shoulders. When armed he wears a four-fold helm with horsehair\nplume; greaves with silver buckles; a wonderful cuirasse composed of ten rows of azure\nsteel, twenty of tin, and twelve of gold, with three dragons rising to the neck; a baldrick\nradiant with embroidery; a sword with gold hilt, silver sheath, and gold hangers; a broad\nbelt with silver plates; and a shield of ten concentric bands or zones of brass, with twenty"}, {"page_pdf": 13, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.13", "debut_caractere": 4970, "fin_caractere_exclue": 5126, "texte": "II c s i o d Ac\nHomer .\nThe Armour.\nThe w omen' &\ndress . &\nAehi1 1 e s *\nAg a m e mil on *\n\n(1) The Perseus in the shield of Hercules is poetical repousse."}, {"page_pdf": 14, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.14", "debut_caractere": 28, "fin_caractere_exclue": 4773, "texte": "bosses and a Gorgon in the midst. Menelaus wears a leopard's skin at night. Old Nestor's\nmantle is of warm, soft wool, doubly lined; his shield is of gold, and he wears a scarf of\ndivers colours. Diomed's armour is of ordinary brass or bronze, until he exchanges it for\nthe gold-inlaid equipments of Glaucus. Ajax is clothed in steel, and carries a terrific mace\ncrowned with studs of iron, whilst Patroclus wears brass, silver buckled, a flaming cuirasse\nof a thousand dyes, a sword studded with gold, and a sword-belt like a starry zone. On\nthe Trojan side we see Hektor with a shield teaching from neck to ankle; a plume or\ncrest of white and black horsehair (i); a brass cuirasse and spears about sixteen feet long.\nParis, in curling golden tresses, comes before us in gilded armour, buckled with silver\nbuckles; his thigh-pieces are wrought with flowers; his helmet is fastened by a strap of\ntough bull-hide; a leopard's skin he wears as a cloak, and his bow hangs across his shoulders.\nOf the fair Helen Homer says but little; he infers that her fairness bewitched everyone\nwho saw her, the old white-headed men sitting in the gate, as well as the middleaged\nand the young. We see her at her tapestry, wherein with golden thread she is picturing\nthe strife of war and bitter passion which has been roused by her unbounded beauty and\nher fatal frailty. We see her pass out of the palace, attended by her two handmaidens,\nher face and arms covered by a thin white peplos, her soft, white chiton tucked up through\nthe gold zone beneath her swelling bosom, and her embroidered diplax fastened with clasps\nof gold, whilst both peplos and diplax fall in multitudinous folds until they lose themselves\nin a train of rippling waves. The picture of Andromache in the twenty-second book shows\nus the noble wife far in the close recesses of her house withdrawn, weaving a web\nall purple, double woof,\nWith varied flowers in rich embroidery;\nand mindful of the father of her children, she is giving orders to the servants to prepare\nfor his return. But Hektor was dead, and when she learnt this,\nBackward she fell, and gasped her spirit away,\nFar off were flung th'adornments of her head —\nThe net, the fillet, and the woven bands;\nThe nuptial veil by golden Venus given,\nupon her bridal day.\nSuch, then, is the evidence we gather from Homer as to the costume of Troilus and Cressida;\nHesiod, in so far as he refers to costume, supports it. Now, therefore, let us examine the\ntestimony offered by the arts of painting and sculpture. We will begin with the shield.\nThere can be no manner of doubt that the shield, as described by the poets just mentioned,\nwas of far greater diameter than any we see modelled in the /Egina sculptures, or painted\non plate or vase. These are scarcely more than thirty inches in diameter, or six inches\nmore than the largest Keltic shield, but the Homeric shield must have had a diameter nearly\nif not quite double this unless our Classic heroes were very short men. Where, then, shall\nwe most easily find a genuine illustration of this gigantic kind of shield? This question,\nthanks to the labours of Mr Layard, is readily answered, for on a slab from the Palace at\nKoyunjik (c. 700 B.C.), now preserved in the Lower Assyrian Room in Great Russell Street,\nis sculptured in low-relief a row of shields of the exact Homeric dimension — i.e. reaching\nfrom neck to ankle, and fully illustrating the convex form, the outer rim, and the central\nboss. Most of these large shields were doubtless made of bull's hides, and only coated with\nmetal plates. This method of construction, i.e. overlaying a leather foundation with thin\nmetal, was probably also adopted in the manufacture of the earlier helmets. Among early\nprotections for the head occur hats or helmets, which appear to have been made of skin,\nleather, or felt. On a black obelisk in the British Museum, dated S50 B.C., we see on the\nattendants a conical cap evidently of soft material, the point falling back, and the margin\nturned up like a band; in other words, a Phrygian cap wrong side on. So also the skull-\ncap form seen in the early Etruskan, Macedonian, and Cyprian helmets, and the peculiar\nhorned shapes seen in our Keltic collection, at Falaise, and in the early representations of\nHerakles are very suggestive of a skin or leather prototype. But the dramatis petsonse\nin Troilus and Cressida must have something more than this. Both Greek and Trojan must\nhave \" bronze bound peaked helms \" and lofty crests, with nodding plumes of horsehair.\nNow in Table Case B, in the First Vase-Room of the Museum is a plate or pinax (No. 19) on\n\nH c h i o r . jz?\nParis,\nHelen, &\nAndromache,\nThe Shields,\nThe Helmets,\n\n(i) On many vases we find crests partl-coloured."}, {"page_pdf": 15, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4935, "texte": "which is represented a combat between Menelaos and Hektor over the body of Euphorbos.\nThe date of the work is probably four or even five centuries too late for us, and I only\nmention it to call attention to the form of the crest, which is nothing more than the curling\npoint of the Phrygian cap slightly raised and translated into metal, and to the curved back\nof which the horsehair is fastened. Now with an accurate drawing of this Greek helmet in\nour hands, let us go down again to the Koyunjik slabs, where we found the shields, and\nwe can see in the helmets of the Assyrian warriors precisely the same arrangement. It is\ntrue that there is nothing in the sculptures of the Nineveh Palace indicating any guard or\ndefence for the face, but there are ear=pieces—in some instances they are small, in others\nlarge; in some homogeneous, in others attached, as in the Keltic example illustrated in the\nArchseolegischen Analectem These crested helms are always or nearly so;\nfor the early conical or peaked helm is crestless, although supplied with the ear guards,\nso necessary to a smooth cIose=fitting casque. Another marked distinction between the\ndrawing on the Greek pinax and the carving on the Assyrian slab is wholly in favour of\nthe latter as an illustration of Homer. In the Greek example the hair is worn short, and\nthe neck is protected by projecting wings or curtains forming part of the helm—an\narrangement familiar to us in the form of the 15th century salade, but on the slab the hair\nis shown thick, long, and curly, as the natural defence for the neck and as worn by the\nHomeric heroes. &?&&&?\nThe usual surface decoration of the helm appears to have consisted of one or more concentric\nbands with semicircular frontals. These borders once created, we can quite understand\nthat the Sidonian artists skilful to work in gold and in silver, in brass and in iron, and to\ngrave any manner of graving, would not be slow to avail themselves of the field thus offered\nfor the exercise of their art. The Homeric cuirasse is always more or less flaming, i.e.,\nshimmering with light and colour—colour partly in itself and partly reflected. Agamemnon's\ncoat, as we have already seen, contains forty=two rows of three different metals, that of\nPatroclus flames with a thousand dyes, that of Achilles outshines the fire, and so on. I can\nhardly imagine that such descriptions as these can refer to any other style of cuirasse than\nthat formed by bands, scales, or plates of metal (some, perhaps, enamelled) fastened to a\nleather or skin foundation, something, that is to say, between the flexible horn cuirasse or\ncoat of mail and the metal plate armour that was moulded to fit every muscle of the body.\nThis kind of cuirasse would be supported by shou!der=straps or braces, fastened to the\nbreast and back pieces by studs, or tied with strips of hide. It was probably Agamemnon's\nleathern braces that were decorated with the crawling dragons or griffins. That this leathern\njerkin, if i may be allowed the unclasslcal expression, descended lower than the abdomen\nis not likely, otherwise there would have been no need for the cuissots or thigh plates.\nNor does it seem that it could have been as short as the later form of lorica or thorax, for\nif so there was no need for the broad waist=belt or zone. Now if we suppose that the\ncuirasse was in two pieces, one for the front and one for the back, it follows that without\nthe zone the sides would be exposed, thus the waist=>belt becomes a very important feature,\nand we can readily understand how the word would be used in the sense of to arm\none's-self. The cuissots were buckled behind the thighs, and the greaves were sometimes\nfastened in the same manner, although the natural spring of the metal (when they were\nformed of metal only) would be sufficient to hold them in place. & &\nFor the women's armlets, bracelets, necklaces, and earrings (1); for the woven patterns,\nand the embroidered borders of the square mantle and the chiton, we cannot be far wrong\nif we seek in the sculptures of the reign of Assur»nazir=«pal (c. B.C. 880). Necklaces of beads\nand of numerous small pendants might be used, if preferred, instead of the bolder medallion\nnecklace. The twisted snake-like form as well as the single medallion may be used for\nbracelets. The hair was rolled up and confined within a caul or net, made of coloured or\ngold thread, and a fillet not unusually of thin fine gold bound the base of the net. This\nfillet, in the cases of very important ladies, might expand into a frontal or diadem of thin\ngold, bent round the forehead from ear to ear and decorated with very delicate repousse work.\n& Of the furniture for this play the Ninevite sculptures supply sufficient material, if taken\nin conjunction with the poet's language, to enable an intelligent stage director to furnish\nthe interior scenes, if not with accuracy, at least without any display of inconsistency. <£?"}, {"page_pdf": 15, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.15", "debut_caractere": 4965, "fin_caractere_exclue": 5090, "texte": "Decoration of\nthe helm .\nThe cuirasse.\nThe women's\nadornments.\n\n(1) Hera's earrings have three drops, formed like mulberries."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c013", "article_bluemountain": "bmtnaau_1908-09_01#c013", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "141", "image_debut": 16, "image_fin": 17, "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=bmtnaau190809-01.2.8", "titre_corps": "A NOTE ON AN OLD ENGRAVING", "titre_sommaire": "A NOTE ON AN OLD ENGRAVING", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 1842, "texte": "A NOTE ON AN OLD ENGRAVING\nby Allen Carrie.\nJ have just come across this charming Italian wood engraving, and because I believe it will\nbe of great interest to the modern stage director, and will appeal to his passion for\ncorrect detail, I hasten to bring it before him. It is made for the modern stage director.\nThe artist evidently knew the modern stage director was coming. Of course it is utterly\nincomplete in execution, this wood cut: technique has not been the designer's aim: realistic\ndetail, that is what has absorbed him, and curiously enough just the very detail by which\nthe stage director knows his public is charmed. <£?\n& Here is the real horse tethered to the real wall: the real dog and the real pigeon and\nthe real pigeon house, just as described by Miss Ellen Terry in her Memoirs, where she\nalludes to one of Charles Reade's productions.\n& 1 think that it never yet occurred to any stage manager to ha>e real bees; yet of what\nvalue would be the presence of the man and the woman, of the horse and the dog and the\nold lady spinning in this design without the bees? Therefore what would a production\nin which are a man and a woman, a horse, a dog and an old lady spinning be without\nthis additional detail of bees? What an opportunity for realism, for accuracy I Think what\npossibilities it opens up! Think of the laughs to be extracted from a bee. If in a\nShakespearean play the leading man were continually being stung on the nose by a bee,\nhow it would punctuate the poetry! And really, when you come to think of it, what is there\nagainst Malvolio being chased by bees? I suppose bees were of the period? I am not so\nsure that a modern stage manager would not be justified in going so far as to announce\non the posters, Tonight: Shakespeare's \" Twelfth Night, or the Pigeons and the Bees \" &\n\nCorrect detail.\nThe Bees •"}, {"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 2021, "texte": "por my part I cannot understand those people who object to stage directions being written\nby the dramatist. Mr Bernard Shaw's stage directions, rather than being too profuse,\nare not profuse enough. He beats about the bush: he does not really close with the\ndifficulty at all. Some day some one will improve upon Mr Bernard Shaw in this respect,\nand then we may hope for really complete directions such as the following. &\n\" The bees are now heard buzzing about the hive. It seems for one moment as\n\" if the queen bee were dead, but the next moment the air is cleared of all apprehension\n\" and becomes thick with bees. They circle twice around the forest and alight upon\n\"an ash tree which may be discerned three miles distant. Care should be taken by the\n\" manipulator to distinguish between the working bees and the drones (i).\n« At the same instant the pigeons should leave the loft which is on the right hand side\n\" of the stage, the reflection of which must be just visible in the pool of water which covers\n\" the front of the stage. The pigeons must be seen in the mirror of the pool flying towards\nthe east, they themselves being invisible (2).\n\" The sound of a horse pawing the ground must now be heard, but the noise is quickly\n\" drowned by the crowing of a cock. As imitations of the crowing of a cock proceed at times\n\" from the audience, the manager must be very careful to procure a genuine cock so that\n\" there shall be no doubt as to the authenticity of the crowing (3). A butterfly should\n\" here flit across the stage (4). Mary is then seen coming out of the house on the left. The\n\" first few words she utters denote her temperament. \" Lamb for dinner, lamb for breakfast,\n\" Iamb for lunch. \" It must be at once evident that she is a pronounced vegetarian and a\n\" suffragette.\n& Truly, the study of the stage is a very pleasant one for the playwright of today, and\nthe more so that, with the happy liberty allowed him by Realism, he is without difficulty\nenabled to offer us so many different sensations."}, {"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.17", "debut_caractere": 2051, "fin_caractere_exclue": 2403, "texte": "Some stage\ndirections.\n(1) Vide Andrew Knight on \" Cause of variation in Bees\n(2) For the behaviour of Pigeons vide Darwin, \" Origin of Species \" and Dr Gould on \" Distribution of the genera\nof Birds\n(3) For the conduct of a cock vide Captain Harraden's treatise on \" Cocks that crow in the Night \".\n(+) See Mr Bates' Treatise on \" Mimetic Butterflies."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c015", "article_bluemountain": "bmtnaau_1908-09_01#c015", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 17, "image_fin": 17, "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=bmtnaau190809-01.2.9", "titre_corps": "BEAUTY IN ART – FRIEDRICH NIETZSCHE", "titre_sommaire": "BEAUTY IN ART – FRIEDRICH NIETZSCHE", "signature_source": "FRIEDRICH NIETZSCHE ; Johanna Volz", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.17", "debut_caractere": 2405, "fin_caractere_exclue": 3330, "texte": "BEAUTY IN ART - FRIEDRICH NIETZSCHE\nFrom the translation of Johanna Volz.\nsee with new eyes.—Suppose that the term \" beauty in art \" always implied the\nimitation of all that is happy—and this I consider the truth—corresponding to the idea\nwhich an age, a people, a great self-constitutive individual form of him who is happy: what\nthen does the so°called realism of the present artists disclose with regard to the happiness\nof our age? It is doubtless its style of beauty which we, in our days, understand and\nenjoy best of all. We are consequently led to believe that our present, peculiar, happiness\nis based on the real, on most acute senses and the true conception of the real; hence not\non reality, but on the knowledge of reality. The influence of science has already gained\nso much in depth and extent, that the artists of our century have quite unconsciously\nbecome the glorifiers of the scientific felicities per se."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c017", "article_bluemountain": "bmtnaau_1908-09_01#c017", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "143", "image_debut": 18, "image_fin": 19, "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=bmtnaau190809-01.2.10", "titre_corps": "SHAKESPEARE'S PLAYS", "titre_sommaire": "SHAKESPEARE'S PLAYS", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4339, "texte": "SHAKESPEARE'S PLAYS.\nby Gordon Craig.\n\nn a little book which I published in 1905 I ventured to agree\nwith those who hold the opinion that Shakespeare's plays\nwere written for the reader and not for the stage. It seems\nmany hold this opinion. Yet it was a satisfaction to me to\ncome later across the following and other sentences in\nGoethe's writings. & &\nsg? 44 Shakespeare belongs by rights to the history of poetry;\n44 in the history of the theatre he only appears casually \"\n44 Shakespeare's whole method of proceeding is one which\n44 encounters a certain amount of impracticability upon the\n44 actual stage \". & jg? & & &\n44 The very contractedness of the stage forces him to\ncircumscribe himself.\" £?\nGoethe comes to this conclusion, not at the beginning of his life but at the end of it,\nafter his experience in the theatre has shown him that literature and the stage are, and must\nbe, independent one of the other. I still remain of the same opinion that Shakespeare's\nplays are not for representation, more expecially because I am myself now working on several\nShakespearean representations and therefore have occasion for passing in review the many\ndifferent 44 editions \" as they are called, of Shakespeare, especially the stage editions,\nand 1 am struck by one fact, and it is this: that the people who hold that Shakespeare was\na master of theatrical art cut away from these plays lines, passages, nay, whole scenes.....\nthese words, passages and scenes which, they say, were written for the stage. &\n&To say a thing is perfect and then to mutilate it is most peculiar. If a manager wishes\nto cut a play saying that it will be better understood by the public if he does so, it is\npermissable provided he does not at the same time say that Shakespeare was a perfect master\nof dramatic art. Drama is for the people if ever an art was for the people, and if Shakespeare\nhas not made himself clear to the people of all time, the actor manager is not going to\nimprove matters by cutting out large portions of the text.\nIn 44 Hamlet \" it is usual for that long passage commencing 44 Now all occasions do\ninform against me 44 to be removed by the manager, who says that it does not 44 help the\nplay.\" Now this is a most extraordinary state of affairs, that managers should be\npermitted to say what does or does not44 help the plays \"of Shakespeare, after Shakespeare\nhas himself decided. Other passages in the play are removed because the managers hold that\nthey are indelicate or they hold that the audience would consider them indelicate. Cut the\npassage between Ophelia and Hamlet in Act III Scene 2 when he is lying at her feet and\nyou rob the character of Hamlet of very much of its force. Ophelia instead of being a\nwoman of intelligence, becomes an early Victorian debutante, and Hamlet, instead of being a\nman of his time and suggesting a period which was more than a period of manners,\nbecomes a land of preaching curate. & &\nOf course the Censor would object to this and other passages in Shakespeare and he\nwould be perfectly right, for the plays were not written for the stage; they were written\nto be read. If you wish to act them act them in their entirety or do not act them at all (i).\nIt is as ridiculous to say that the omission of a small passage is not going to harm such a\nwork as to say that the omission of so small a portion of the body as the eye does not\ninjure the whole.\nThis liberty with great plays is no sign of civilization; it is barbarous in the extreme.\nAnother argument advanced for acting in this way is that the performance must not last\nlonger than a certain time. Time has nothing to do with a performance. If it is good we\ndo not mind how long it takes: if it is bad it must be cut short, and therefore to advocate\na short time is to imply a fear on the part of the manager that the play is going to be\nbadly represented. Can one have too much of a good thing ? Then, too, it is quite possible\n(1) \" .... I am very glad to find that I can endorse Tieck's opinion when he shows himself to be a zealous upholder\n44 of the unity, indivisibility, and unassailableness of Shakespeare's plays, and insists on their being performed in their\n44 entirety and without revision or modification of any kind. \" Goethe.\n\n*\nGoethe .\nAn\nIncons is ten cy.\nH a m 1 e t . &\nThe Censor.\nThe 44 Time\n1 i m i t }} &"}, {"page_pdf": 19, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 1525, "texte": "to perform a play of Shakespeare in it entirety in an evening provided the appliance for\nshifting the scenery is not so absurdly elaborate that it takes twenty minutes to change\neach, act and provided that the actors do not pause too long over each syllable but exercise\ntheir brains to think a trifle faster. It is this slow delivery of Shakespeare's lines which\nhas made Shakespeare a bore to so many people. Here in the plays of Shakespeare we\nhave passionate scenes of an amazing description, far more amazing than in the plays of\nthe south, and yet we drawl them and crawl them and are surprised when a Grasso\ncomes to England and shows us how we should speak, act and reveal the suddenness and\nmadness of passion. We seem to forget this fact, that passion is a kind of madness. We\nbring to it a logical attitude and we deliver it with the voice of the judge or the\nmathemetician. It seems to have something to do with the totting up of accounts; thus\nwith us it is a shopman, not Othello, who is throttling Desdemona. The emotional actors\nin England ought not to be content with themselves for not waking up and sweeping all\nthese too deliberate and stodgy actors off the stage and out of the theatres\nWould the plays of Shakespeare be then interpreted as they should be ? No, not even\nthen. Not if the finest and most passionate actors in the world were to come together\nand attempt to perform Hamlet could the right representation of Hamlet be given, for\nto represent \" Hamlet \" rightly is an impossibility. j® & *& &"}, {"page_pdf": 19, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.19", "debut_caractere": 1549, "fin_caractere_exclue": 1575, "texte": "Passion a kind\nof Madness."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c019", "article_bluemountain": "bmtnaau_1908-09_01#c019", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 19, "image_fin": 19, "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=bmtnaau190809-01.2.10.2", "titre_corps": "GIULIO PIRHO", "titre_sommaire": "GIULIO PIRHO", "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": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.19", "debut_caractere": 1577, "fin_caractere_exclue": 1589, "texte": "GIULIO PIRHO"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c020", "article_bluemountain": "bmtnaau_1908-09_01#c020", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "144", "image_debut": 20, "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=bmtnaau190809-01.2.11", "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": 20, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 3152, "texte": "BOOK REVIEWS\n\nIMPRESSIONS OF HENRY IRVING,\nby Walter Herries Pollock. ILongmans,\nGreen & Co. Eondon & & &\nImpressions of Henry Irving make up\nthe best book which has been written\nabout him since his death. The book has a\nshort well-written preface by Mr H. B. Irving\nin which he states that his father had intended\nto have written his Reminiscences, and he\nadds, \" No doubt that in these reminiscences\n44 Henry Irving would have given to those\n44 who came after him the fruits of his\n44 experience, the lessons learned, the ideas\n\" formed in the course of a career of strenuous\n44 endeavour and singular achievement. \"\nIt appears that Henry Irving has not left\nany written works from which we may study\nexcept the small book which contains the\nlectures given at Oxford, Edinburgh, and\nother cities, so that any book which records\nconversations with Irving or which attempts\nto bring portions of his performances before\nour eyes is very welcome to admirers of the\nactor.\nMr Pollock's book contains very many\nsuggestive passages which help to remind us\nof those performances which we have seen. By\nthe use of his well-chosen words he recalls\nto us very vividly the dusky brown stage of\nthe theatre, the simple and unadorned\ndressing room: we hear again Irving's voice\nand we see once more his action and expression\nthrough Mr Pollock's art.\nWill those of the future generation be able\nto see the same? We doubt this very much,\nand we doubt whether the description of\nwhat an actor has done upon the stage and\nhow he did it is of any assistance whatever\nto actors of the future; and for this reason:...\nWe come across the passage about Irving's\nIago, in which the author speaks of the\nperformances of Othello and Iago, and as we\nhad never seen either of these performances\nwe were very much interested in reading\nwhat he had to say. But we cannot see\nIrving as Iago, we cannot picture him as\nOthello merely by reading this book, and we\ndo not believe that however faithful the\nrecord might be that we should be able to\npicture him: therefore we should lose the\nessence of the thing. & &\nWe are thus reminded of the worihlessness\nof tradition in an art which has no fixed\nrules. We do not attack the idea of tradition in\nart: we only hold that in the record of an\nactor's style it is worthless.\nThis does not, however, make Mr Pollock's\nbook a whit less interesting, and to those\nwho saw Irving it is very good to see him\nagain through the medium of these pages.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & &\n\" Impressions of Henry Irving, by Walter Herries\nPollock. \" Longmans, Green & Co. London. \" 77ie\nBohemian Jinks. A Treatise by Porter Garnett. \"\nBohemian Club, San Francisco. ,, // Nuovo Giornale\nIllustrato Florence. O/r \", London.\n\" Le Timoin \", Paris. \" La Balance \", Moscow.\n\" Paris American \", Paris. \" The Fra \", East\nAurora. New York. \" T/re Bibelot Portland, Maine\nU. S. A. \" The Papyrus \", East Orange., New Jersey\nU. S. A. \" Current Literature \" New York. *£?\n\" 77ie Studio \", London. \" The New York Dramatic\nMirror \", New York. \" Ri vista di Roma \", Rome.\n& \" Argus Helslngfors. & \" Die Schaubuhne\nBerlin. \" // Teatro Illustrato \" Milan."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c022", "article_bluemountain": "bmtnaau_1908-09_01#c022", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "144", "image_debut": 20, "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=bmtnaau190809-01.2.11.2", "titre_corps": "IMPRESSIONS OF HENRY IRVING by Walter Herries Pollock", "titre_sommaire": "IMPRESSIONS OF HENRY IRVING by Walter Herries Pollock", "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": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "debut_caractere": 14, "fin_caractere_exclue": 2458, "texte": "IMPRESSIONS OF HENRY IRVING,\nby Walter Herries Pollock. ILongmans,\nGreen & Co. Eondon & & &\nImpressions of Henry Irving make up\nthe best book which has been written\nabout him since his death. The book has a\nshort well-written preface by Mr H. B. Irving\nin which he states that his father had intended\nto have written his Reminiscences, and he\nadds, \" No doubt that in these reminiscences\n44 Henry Irving would have given to those\n44 who came after him the fruits of his\n44 experience, the lessons learned, the ideas\n\" formed in the course of a career of strenuous\n44 endeavour and singular achievement. \"\nIt appears that Henry Irving has not left\nany written works from which we may study\nexcept the small book which contains the\nlectures given at Oxford, Edinburgh, and\nother cities, so that any book which records\nconversations with Irving or which attempts\nto bring portions of his performances before\nour eyes is very welcome to admirers of the\nactor.\nMr Pollock's book contains very many\nsuggestive passages which help to remind us\nof those performances which we have seen. By\nthe use of his well-chosen words he recalls\nto us very vividly the dusky brown stage of\nthe theatre, the simple and unadorned\ndressing room: we hear again Irving's voice\nand we see once more his action and expression\nthrough Mr Pollock's art.\nWill those of the future generation be able\nto see the same? We doubt this very much,\nand we doubt whether the description of\nwhat an actor has done upon the stage and\nhow he did it is of any assistance whatever\nto actors of the future; and for this reason:...\nWe come across the passage about Irving's\nIago, in which the author speaks of the\nperformances of Othello and Iago, and as we\nhad never seen either of these performances\nwe were very much interested in reading\nwhat he had to say. But we cannot see\nIrving as Iago, we cannot picture him as\nOthello merely by reading this book, and we\ndo not believe that however faithful the\nrecord might be that we should be able to\npicture him: therefore we should lose the\nessence of the thing. & &\nWe are thus reminded of the worihlessness\nof tradition in an art which has no fixed\nrules. We do not attack the idea of tradition in\nart: we only hold that in the record of an\nactor's style it is worthless.\nThis does not, however, make Mr Pollock's\nbook a whit less interesting, and to those\nwho saw Irving it is very good to see him\nagain through the medium of these pages."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c023", "article_bluemountain": "bmtnaau_1908-09_01#c023", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "144", "image_debut": 20, "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=bmtnaau190809-01.2.11.3", "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": 20, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "debut_caractere": 2460, "fin_caractere_exclue": 3152, "texte": "BOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & &\n\" Impressions of Henry Irving, by Walter Herries\nPollock. \" Longmans, Green & Co. London. \" 77ie\nBohemian Jinks. A Treatise by Porter Garnett. \"\nBohemian Club, San Francisco. ,, // Nuovo Giornale\nIllustrato Florence. O/r \", London.\n\" Le Timoin \", Paris. \" La Balance \", Moscow.\n\" Paris American \", Paris. \" The Fra \", East\nAurora. New York. \" T/re Bibelot Portland, Maine\nU. S. A. \" The Papyrus \", East Orange., New Jersey\nU. S. A. \" Current Literature \" New York. *£?\n\" 77ie Studio \", London. \" The New York Dramatic\nMirror \", New York. \" Ri vista di Roma \", Rome.\n& \" Argus Helslngfors. & \" Die Schaubuhne\nBerlin. \" // Teatro Illustrato \" Milan."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c024", "article_bluemountain": "bmtnaau_1908-09_01#c024", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "146", "image_debut": 20, "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=bmtnaau190809-01.2.12", "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": 20, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "debut_caractere": 3154, "fin_caractere_exclue": 4549, "texte": "FOREIGN NOTES\n\nfollowing questions were recently put to\ncorrespondents of this journal in the large\ncentres of Europe.\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution?\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\n& We print below a reply from London.\nReplies from Holland and Warsaw will\nappear in the October number of \" The\nMask\nAsa whole the work, whether of individual\nor of mass, in the Theatres of London\ndoes not show hasty conception and careless\nperformance. As a whole it has appeared to\nme extremely deliberate in conception and\ncareful in performance, in word, conscien-\ntious. But the deliberation and the care\nappear to me to be expended mainly in\npropagating the Conventional. This may look\nlike a plea for the unconventional. In a sense\nit is. But by a unconventional \" I do not intend\nthe Unpleasant, whether of Suggestion or of\nRealism. So many people, authors especially,\nseem to think that it is only possible to be\nunconventional by representing the unplea-\nsant, the ugly; and cannot see that Beauty\nitself is always unconventional. &\nThe London stage does not suffer much from\n\"hasty conception and careless performance\";\nnor even so much from conventionalism as"}, {"page_pdf": 21, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5975, "texte": "from commercialism. An ideal theatre might\nbe one owned by a millionaire who were also\na man of artistic genius and a Great\nPersonality; a millionaire who were also a\nWagner, able to conceive a drama (or comedy)\nto conceive the medium of its representation\nand to infuse his own personality into every\nliving or inert portion of that chosen medium,\nwhether living mimes and musicians or inert\nmaterial scenic accessories. But the London\ntheatre is run as a rule by that most potent\nforce in modern life, .... Various Considera-\ntions! The man who owns a theatre here, if\nhe means to run it himself (if wise he prefers\nto let it, cash deposit in advance) has to find\na play, and the choice of this depends on....\nvarious considerations, chief of which perhaps\nis his own qualifications for judging, not what\nis a good play, but what will please the\nPublic. Shall the play be by an author of\nestablished reputation, by one who is esta-\nblishing a reputation, or by one who has it\nyet to make? Prices vary. The former would\nprobably be \" a safe draw \", but the price\nwill be high. The latter may be cheap, but\nthe unknown author is always \"a gamble\":\nask Publishers! If the man who is running\nthe theatre is also an actor-manager there\nare other \" various considerations \". fie has fo\ncourse to consider his own or his \" backer's\"\nfinances. On that consideration depends to\nsome extent the cost of an auther, and on\nanother, not less important, depends the\nchoice of a play; for,as the actor-manager is\nhimself a \" draw \" it depends very largely on\nhis own \" drawing \" powers whether he shall\npatronise the work of an unknown and\ninexpensive author, or join forces with another\nwell known name and have a play by a drama-\ntist of established fame. The casting of the play\nis in either case another consideration, as to\nquality of players, their suitability, their cost\nand \" drawing \" power, if any.... as compared\nwith the actor-manager: and it is essential\nthat he shall be the central figure of the play.\nThe expense and nature of the mounting is\nanother consideration; and there are a thou-\nsand and one others. How then could the work\nin the London theatres be said to be \"hasty\nIn conception and careless in performance\"!\nIt would seem to be impossible to be hasty\nin any matter so hedged around by various\nconsiderations: and as for carelessness in\nperformance, well, if there were any of that,\npresumably the actors would soon cease to\nbe engaged! It would seem so. The man who\nas actor-manager is running a theatre in\nLondon for his own profit is to be sympathised\nwith, for, like a man on a treadmill, he must\nkeep going on, at any cost and in face of\nany chance of failure. He has started out to\ncater for an uncertain public and must\nproduce new plays and they must please (i).\nBut the worst trouble is that if they are to\nplease they must be not too unlike what\nhas already pleased. They must, though new,\nbe still, as a rule, conventional. £?\nIt is the same too with the actors. To achieve\na success in one type of character is almost\nto be doomed to the perpetual representation\nof such types, at least until the uncertain\npublic turn to some new favourite. Then if\nthe actor essay another role.... though possibly\nwith equal talent.... it is forthwith suggested\nthat he had better stick to the parts he plays\nso well; which is acceptable advice only while\nsuch parts continue to be written.\nSo what with one thing and another,... and\nmaking due allowance for occasional flukes....\nall things seem to conspire to the propogation\nof conventionality, and the largest factor is\nprobably commercialism, the craze of all\n\" artists \" for publicity and large profits; but\nas in studying past records of the Drama,\nespecially in the earlier half of last century,\nI have come across various other outcries on\nthe mortification of the British Drama, I have\nno doubt that things might be worse, since\nthe complaint is no wise new; and with the\nvastly greater number of theatres there are\nnow, the increasing competition, and the\nindifference of the public to most things that\nshould rouse them from indifference, it is\namazing that the standard of work in the\nLondon theatres is as good as it is.\nCertainly as a whole it might yet be higher.\nThat it can hardly be called hasty in concept\ntion and careless in performance is fairly\nobvious to any who know anything of the\nvarious considerations affecting the British\nDrama. But at times it does seem not so much\n\" hasty \" as hazy in conception, and might\noccasionally show yet greater care in perfor-\nmance. On the other hand so much care is\nexpended on a big production, say a\nShakespearean revival or some spectacular\nromantic play, that there is a tendency to\nover-elaboration of unnecessary detail, with\nthe result that the work is sometimes \"fussy\".\nWithout necessarily requiring a return to\n\" three boards, two trestles and a Passion\none could wish to note a move towards\nsimplification of stage methods, and common-\nsense economy compatible with artistic aims.\nIt is time, however, to deal with your second\nquestion, regarding the Public.\nReally, the Public is so large and complex a\nbody I should be sorry to think I could in\nany way be answerable for its opinion. If\none could credit the current reports as to the\nbadness of the theatrical season it would seem\neither that the public is not contented with\nwhat it receives in the theatre, or that some\ncounter attractions, can the Stadium of the\nFranco British Exhibition be one?.... are too\npowerful. In the main the general public is,\nI think, quite content with what it receives\nin the theatre, though perhaps we might\nexcept the programme, for which the public\ncontinues in most theatres to pay sixpence\nfor the pleasure of reading advertisements of\nwhisky which is obtainable at an equally high\nprice, I understand, at most bars. But as far\n\n(i) There could easily be a happier state of things, but\nconsiderations of space preclude my discussing the remedy\nnow."}, {"page_pdf": 22, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 3844, "texte": "as the dramatic fare is concerned the public\nappears to be content with what it receives,\nthough my own opinion is it pays rather too\nhigh a price. For one thing the public nowadays\nwill take anything that is sufficiently\nadvertised. But there is not only one public,\nor three or four sections, but a dozen or more,\nand several overlap. There is the public that\ngoes to see Beerbohm Tree, another that\ngoes to see Cyril Maude; another for Lewis\nWaller, another for melodrama at the Lyceum;\nanother for Opera; another for 44 Musical\nComedy\"; another for the Music Halls,....\nwhere, by the way, one still gets the best\nvalue for one's money in sheer individual\ntalent; another for the amateur {and pro«\nfessional) entertainments provided on Sunday\nby Socialist clubs; oh! and another lor the\nworks of Mr George Bernard Shaw. The\npublic for this however, would seldom be\nfound to overlap with that which goes to\n44 Musical Comedy \", though some of it might\nbe found at a Shakespearean resuscitation\nby Mr Beerbohm Tree, or at a Music Hall.\nThough perhaps this is doubtful, for the\n44 Shavian \" audience has quite its own\ncharacter; a somewhat vegetable one. But\nI do not think the various sections of the\npublic are divided on the point whether they\nare 44 content with what they receive in the\ntheatres\". They continue to go to them; if\nthey were not content they would stay away;\nand this, in spite of the talk of a bad theatrical\nseason, I do not think they have done. It is\nin no spirit of bitterness I say: It is mainly\na matter of advertisement. It was some time\nbefore the public began to accept Shaw; it\nwould be some time probably before they\nwould accept any new and unusual form of\nwork. The advertisement may be cumulative,\nthe effect of years, or it may be sudden and\nemphatic; but advertisement there must be\nbefore the public begin to appreciate 44 the\nnew thing \", whether good or otherwise. The\npublic seem for the most part rather to lack\nconfidence in their own judgment and to\nrequire quiet but insistent assertion as to the\nvalue of any work of art. Indeed, were it not for\nthe often attacked but Iong=>suffering Press,\nprobably few workers in any sphere of art\ncould find as ready or as full a recognition\nhere as the public give then.\n\nM. P., London.\n\nLONDON\nR.S.\n71/J r Hall Caine and Mr Louis N. Parker, the\namazing novelist and maker of pageants*\non August 22nd preached the public a sermon\nat the Lyceum Theatre.- & &\nThere should be some new laws made to\nprotect the Theatre from such unlicensed\ninvasion. The Censor should be given fuller\npowers. The artists and the playgoers want\nno sermons in the Theatres: they want Drama.\nThere are plenty of other places better fitted\nfor sermons.\nThe Daily Telegraph speaks of the play as\nbeing 44 an aid to the cause of social\nreformation This in a preliminary article.\nSocial reformation is a good thing in the\nright place. In the Theatre it is out of place.\nMr Hall Caine and Mr Parker may really only\nlook on their play as Drama pure and simple\nand they may raise the \" social reformation\"\ncry merely for the sake of an advertisement.\nIf they are really serious in their intention\nof reforming Society through \" Pete \"at the\nLyceum Theatre they ought to be transported.\nTo attempt to reform the public is a sign of\nlunacy. St is a sign of downright cruelty to\ndesire to \" reform \" anything. &\nWe do not suspect Messrs Caine and Parker\nof lunacy or cruelty: we believe they are\nwhat is called in England \"Playing the game\".\nSportsmen Caine and Parker cover themselves\nwith both flannel and glory at the same time.\nLet us hope they may wing a bird or two\nand make an impression on the wicket,... but\nGod save the public during the double event.\nPersonally I should like to shoot Mr Caine\nand eke Mr Parker for this double=dyed\nvillainy and treachery to Art and to the\nTheatre."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c026", "article_bluemountain": "bmtnaau_1908-09_01#c026", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "146", "image_debut": 20, "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=bmtnaau190809-01.2.12.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "M. P.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "debut_caractere": 3169, "fin_caractere_exclue": 4549, "texte": "following questions were recently put to\ncorrespondents of this journal in the large\ncentres of Europe.\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution?\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\n& We print below a reply from London.\nReplies from Holland and Warsaw will\nappear in the October number of \" The\nMask\nAsa whole the work, whether of individual\nor of mass, in the Theatres of London\ndoes not show hasty conception and careless\nperformance. As a whole it has appeared to\nme extremely deliberate in conception and\ncareful in performance, in word, conscien-\ntious. But the deliberation and the care\nappear to me to be expended mainly in\npropagating the Conventional. This may look\nlike a plea for the unconventional. In a sense\nit is. But by a unconventional \" I do not intend\nthe Unpleasant, whether of Suggestion or of\nRealism. So many people, authors especially,\nseem to think that it is only possible to be\nunconventional by representing the unplea-\nsant, the ugly; and cannot see that Beauty\nitself is always unconventional. &\nThe London stage does not suffer much from\n\"hasty conception and careless performance\";\nnor even so much from conventionalism as"}, {"page_pdf": 21, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5975, "texte": "from commercialism. An ideal theatre might\nbe one owned by a millionaire who were also\na man of artistic genius and a Great\nPersonality; a millionaire who were also a\nWagner, able to conceive a drama (or comedy)\nto conceive the medium of its representation\nand to infuse his own personality into every\nliving or inert portion of that chosen medium,\nwhether living mimes and musicians or inert\nmaterial scenic accessories. But the London\ntheatre is run as a rule by that most potent\nforce in modern life, .... Various Considera-\ntions! The man who owns a theatre here, if\nhe means to run it himself (if wise he prefers\nto let it, cash deposit in advance) has to find\na play, and the choice of this depends on....\nvarious considerations, chief of which perhaps\nis his own qualifications for judging, not what\nis a good play, but what will please the\nPublic. Shall the play be by an author of\nestablished reputation, by one who is esta-\nblishing a reputation, or by one who has it\nyet to make? Prices vary. The former would\nprobably be \" a safe draw \", but the price\nwill be high. The latter may be cheap, but\nthe unknown author is always \"a gamble\":\nask Publishers! If the man who is running\nthe theatre is also an actor-manager there\nare other \" various considerations \". fie has fo\ncourse to consider his own or his \" backer's\"\nfinances. On that consideration depends to\nsome extent the cost of an auther, and on\nanother, not less important, depends the\nchoice of a play; for,as the actor-manager is\nhimself a \" draw \" it depends very largely on\nhis own \" drawing \" powers whether he shall\npatronise the work of an unknown and\ninexpensive author, or join forces with another\nwell known name and have a play by a drama-\ntist of established fame. The casting of the play\nis in either case another consideration, as to\nquality of players, their suitability, their cost\nand \" drawing \" power, if any.... as compared\nwith the actor-manager: and it is essential\nthat he shall be the central figure of the play.\nThe expense and nature of the mounting is\nanother consideration; and there are a thou-\nsand and one others. How then could the work\nin the London theatres be said to be \"hasty\nIn conception and careless in performance\"!\nIt would seem to be impossible to be hasty\nin any matter so hedged around by various\nconsiderations: and as for carelessness in\nperformance, well, if there were any of that,\npresumably the actors would soon cease to\nbe engaged! It would seem so. The man who\nas actor-manager is running a theatre in\nLondon for his own profit is to be sympathised\nwith, for, like a man on a treadmill, he must\nkeep going on, at any cost and in face of\nany chance of failure. He has started out to\ncater for an uncertain public and must\nproduce new plays and they must please (i).\nBut the worst trouble is that if they are to\nplease they must be not too unlike what\nhas already pleased. They must, though new,\nbe still, as a rule, conventional. £?\nIt is the same too with the actors. To achieve\na success in one type of character is almost\nto be doomed to the perpetual representation\nof such types, at least until the uncertain\npublic turn to some new favourite. Then if\nthe actor essay another role.... though possibly\nwith equal talent.... it is forthwith suggested\nthat he had better stick to the parts he plays\nso well; which is acceptable advice only while\nsuch parts continue to be written.\nSo what with one thing and another,... and\nmaking due allowance for occasional flukes....\nall things seem to conspire to the propogation\nof conventionality, and the largest factor is\nprobably commercialism, the craze of all\n\" artists \" for publicity and large profits; but\nas in studying past records of the Drama,\nespecially in the earlier half of last century,\nI have come across various other outcries on\nthe mortification of the British Drama, I have\nno doubt that things might be worse, since\nthe complaint is no wise new; and with the\nvastly greater number of theatres there are\nnow, the increasing competition, and the\nindifference of the public to most things that\nshould rouse them from indifference, it is\namazing that the standard of work in the\nLondon theatres is as good as it is.\nCertainly as a whole it might yet be higher.\nThat it can hardly be called hasty in concept\ntion and careless in performance is fairly\nobvious to any who know anything of the\nvarious considerations affecting the British\nDrama. But at times it does seem not so much\n\" hasty \" as hazy in conception, and might\noccasionally show yet greater care in perfor-\nmance. On the other hand so much care is\nexpended on a big production, say a\nShakespearean revival or some spectacular\nromantic play, that there is a tendency to\nover-elaboration of unnecessary detail, with\nthe result that the work is sometimes \"fussy\".\nWithout necessarily requiring a return to\n\" three boards, two trestles and a Passion\none could wish to note a move towards\nsimplification of stage methods, and common-\nsense economy compatible with artistic aims.\nIt is time, however, to deal with your second\nquestion, regarding the Public.\nReally, the Public is so large and complex a\nbody I should be sorry to think I could in\nany way be answerable for its opinion. If\none could credit the current reports as to the\nbadness of the theatrical season it would seem\neither that the public is not contented with\nwhat it receives in the theatre, or that some\ncounter attractions, can the Stadium of the\nFranco British Exhibition be one?.... are too\npowerful. In the main the general public is,\nI think, quite content with what it receives\nin the theatre, though perhaps we might\nexcept the programme, for which the public\ncontinues in most theatres to pay sixpence\nfor the pleasure of reading advertisements of\nwhisky which is obtainable at an equally high\nprice, I understand, at most bars. But as far\n\n(i) There could easily be a happier state of things, but\nconsiderations of space preclude my discussing the remedy\nnow."}, {"page_pdf": 22, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 2270, "texte": "as the dramatic fare is concerned the public\nappears to be content with what it receives,\nthough my own opinion is it pays rather too\nhigh a price. For one thing the public nowadays\nwill take anything that is sufficiently\nadvertised. But there is not only one public,\nor three or four sections, but a dozen or more,\nand several overlap. There is the public that\ngoes to see Beerbohm Tree, another that\ngoes to see Cyril Maude; another for Lewis\nWaller, another for melodrama at the Lyceum;\nanother for Opera; another for 44 Musical\nComedy\"; another for the Music Halls,....\nwhere, by the way, one still gets the best\nvalue for one's money in sheer individual\ntalent; another for the amateur {and pro«\nfessional) entertainments provided on Sunday\nby Socialist clubs; oh! and another lor the\nworks of Mr George Bernard Shaw. The\npublic for this however, would seldom be\nfound to overlap with that which goes to\n44 Musical Comedy \", though some of it might\nbe found at a Shakespearean resuscitation\nby Mr Beerbohm Tree, or at a Music Hall.\nThough perhaps this is doubtful, for the\n44 Shavian \" audience has quite its own\ncharacter; a somewhat vegetable one. But\nI do not think the various sections of the\npublic are divided on the point whether they\nare 44 content with what they receive in the\ntheatres\". They continue to go to them; if\nthey were not content they would stay away;\nand this, in spite of the talk of a bad theatrical\nseason, I do not think they have done. It is\nin no spirit of bitterness I say: It is mainly\na matter of advertisement. It was some time\nbefore the public began to accept Shaw; it\nwould be some time probably before they\nwould accept any new and unusual form of\nwork. The advertisement may be cumulative,\nthe effect of years, or it may be sudden and\nemphatic; but advertisement there must be\nbefore the public begin to appreciate 44 the\nnew thing \", whether good or otherwise. The\npublic seem for the most part rather to lack\nconfidence in their own judgment and to\nrequire quiet but insistent assertion as to the\nvalue of any work of art. Indeed, were it not for\nthe often attacked but Iong=>suffering Press,\nprobably few workers in any sphere of art\ncould find as ready or as full a recognition\nhere as the public give then.\n\nM. P., London."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c027", "article_bluemountain": "bmtnaau_1908-09_01#c027", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "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=bmtnaau190809-01.2.12.3", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "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": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "debut_caractere": 2272, "fin_caractere_exclue": 3844, "texte": "LONDON\nR.S.\n71/J r Hall Caine and Mr Louis N. Parker, the\namazing novelist and maker of pageants*\non August 22nd preached the public a sermon\nat the Lyceum Theatre.- & &\nThere should be some new laws made to\nprotect the Theatre from such unlicensed\ninvasion. The Censor should be given fuller\npowers. The artists and the playgoers want\nno sermons in the Theatres: they want Drama.\nThere are plenty of other places better fitted\nfor sermons.\nThe Daily Telegraph speaks of the play as\nbeing 44 an aid to the cause of social\nreformation This in a preliminary article.\nSocial reformation is a good thing in the\nright place. In the Theatre it is out of place.\nMr Hall Caine and Mr Parker may really only\nlook on their play as Drama pure and simple\nand they may raise the \" social reformation\"\ncry merely for the sake of an advertisement.\nIf they are really serious in their intention\nof reforming Society through \" Pete \"at the\nLyceum Theatre they ought to be transported.\nTo attempt to reform the public is a sign of\nlunacy. St is a sign of downright cruelty to\ndesire to \" reform \" anything. &\nWe do not suspect Messrs Caine and Parker\nof lunacy or cruelty: we believe they are\nwhat is called in England \"Playing the game\".\nSportsmen Caine and Parker cover themselves\nwith both flannel and glory at the same time.\nLet us hope they may wing a bird or two\nand make an impression on the wicket,... but\nGod save the public during the double event.\nPersonally I should like to shoot Mr Caine\nand eke Mr Parker for this double=dyed\nvillainy and treachery to Art and to the\nTheatre."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c028", "article_bluemountain": "bmtnaau_1908-09_01#c028", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "148", "image_debut": 22, "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=bmtnaau190809-01.2.13", "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": 22, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "debut_caractere": 3846, "fin_caractere_exclue": 4980, "texte": "EDITORIAL NOTES\n\nnPhe announcement made in the August\nnumber of \"The Mask\" that Mr Gordon\nCraig has been invited to four European\nCapitals to produce plays will not be at\nall welcome to that group of grumblers\nin England who find Mr Craig's work\neverything that is eccentric and foolish.\nThese grumblers belong to the class who\nwish to see the arts handled in the same way\nas cheap journalism. & &\nWe have for a long time past had our eye\nupon the papers and have noted that these\nsneers come from particular quarters. That\nMr Craig has not been long ago accepted in\nEngland and given a theatre of his own in\nwhich to work out to the benefit of the\ndramatic art in England his different ideas\nis in some way due to the croaking of these\nignorant creatures. They have given\nthe public an utterly wrong idea of the son\nof Ellen Terry. Such critics are met with at\nall times and in all lands: they are a disgrace\nto the nation that is foolish enough to listen\nto what they. have to say. Such men have\nalways attempted to kill off the poets, painters,\nmusicians and other artists. Sometimes they\nhave managed to kill the man, but his work"}, {"page_pdf": 23, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5698, "texte": "has lived afterwards to prove them and their\nignorant animosity unworthy of the country\nwhich shelters them. But sometimes they\ncome across artists who have no intention of\nbeing destroyed, or of letting their work be\ndestroyed, and it is then that they may be\nsaid to meet just what they do not want to\nmeet, that is, their match. z® z®\nTheir attitude is a very sly and clever one,\nbut we think it is a little too sly for England.\nThe attitude is that of the protector. Some-\ntimes these critics are women but as a rule\nthese writers come before the public in the\nguise of good strong healthy Englishmen who\nwant to protect their country from what\nthey are pleased to call and\nunhealthy art\" which makes your head ache\nand all the rest of it, and the men they\nchoose to attack are those who want to do\nthe most thorough work and have the work\ndone in the most thorough way: in fact, they\nattack the most athletic workers. Thus you\nsee the critics praising up a weak and flabby\nacademician and calling Augustus John's\ndrawings and paintings \" clever but\nunpleasant \". Thus you see such critics\npraising some cheap and popular poet whose\nverses are a disgrace to the intelligence of\nEngland, yet attacking the work of a Meredith\nor a Swinburne; and this was only yesterday.\nThis does England harm in many ways. It\ndelays the arrival of the best things, it\nbenefits foreign countries that are prepared\nto profit and who do profit by them and it\nruns the risk of making the name of the\nEnglish critic the laughing stock of Europe.\nAubrey Beardsley, whom this type off critic,\nwithout understanding calls immoral and\neecentric, is studied by foreign critics and\nfound to be a genius, and after he has been\nkilled is at last praised in unqualified terms\nfor his remarkable achievements. j®\nPatriotism and art are things which can\nnever be connected, but patriotism and\nfirst class work are closely allied, and for\nthe first class artists to be permitted to be\ninsulted by the tenth rate critics shows a\nlack of patriotism on the part of the rulers\nof the Press, J® The younger artists whose\ninfluence is beginning to be felt should be\nable to reckon on the support of the leaders\nof the Press, not because of their art but\nbecause of their first rate work. & z®\nWhen you speak of a soldier it goes without\nsaying that he is a brave man. What you have\nto write about is the athleticism shown by him\nin mind and body. It is precisely the same\nwith the artist. It is folly to write about the\nArt of the artist for without Art he is no\nartist. What may be written about is the\nathletic quality of his work; bearing in mind\nthat the athletics of the body and of the soul\nare two different things. This is not forgotten\nwhen speaking of the soldier. The arts of\nwar are rather dangerous things to criticize\nthough we may be sure that those extraordinary\narts have never been written about in the right\nspirit by any critic who was not a poet at the\nsame time. Thus we have perhaps the only\ntwo war critics in Homer and Walt Whitman.\nSuch criticism is indeed criticism. It inspires\nwhile it describes, and even while it\nblames. But when the English critic,\nwho is devoted to the arts of peace,\ncommences to write he becomes ashamed of\nhimself and of what he is writing and so he\nsneers at all that is beautiful in these arts\nof peace. He has been for so long accustomed\nto sneer with impunity that he looks upon\nthe artist as a poor worm that will never turn\nand this explains the quality of his criticism.\nNow these sneering critics should, for the\nsake of the standard of English journalism,\nand for the sake of the country, be severely\ntaken in hand by the leaders of the Press,\nby the masters who are in the privileged\nposition of raising their profession or of\nlowering it.\nIn the Daily Telegraph of August 19 Mr\nRobert Ross makes an extraordinary attack\nupon Mr Redford, the Censor of plays\nand he calls the Law of England 'stupid*. &\nThe law of England is a very excellent law\nand we do not think that those who protect\nus by formulating that law will be carried\naway by the momentary thirst of a section\nof the public for ugliness in the shape of the\nactualization of religious subjects on the\nstage of a theatre or the actualization of\npictures or sculpture.\nThe Censor, Mr Redford, would really seem\nto possess an extraordinary sense of the\nlimits of art. He is held up to us as an ass\nand a monster, and is positively a man in a\nmillion, one who understands. He protects\nus, and with a natural ingratitude we wish\nto do away with him. &\nTo be Censor of things Dramatic must be a\nvery difficult position.\nWe cannot understand how the burlesque of\nMiss Allen's Salome with the comic head of\nJohn the Baptist (horrible!) was ever\npermitted to get to the public. But then we\ncannot understand how Miss Allen herself was\never allowed on to the stage of the Palace\nTheatre. & Possibly Mr Redford was\ndeceived about the whole matter, or possibly\nhe only controls what is written. Anyhow\nit is quite unlikely Mr Redford will let\nhimself be deceived a second time.\nFor, dear Miss Allen, there is the open air,\nthe wonderful open air, in which to dance,\nand nature is one thing and art quite another\nthing. Your charming hands and feet would\nlend a grace to the lawns and gardens of\nEngland and would not be out of place there:\nall would be natural; whereas on the stage\n...well, we have had Pantomime at Drury Lane\nfor years, and the limbs of the ladies have\nbecome quite a delightful convention.\nIn Paris we believe the intelligence of woman\nhas devised the extremely chic idea of dancing\nentirely naked in front of artificial light. This,\nby the way is not Greek; it is Parisian, and\nit has amused even the"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5010, "texte": "Now why not dance naked upon the stage at\nthe Palace? Why not?.... Why? Nudity is\nnothing very extraordinary. It only becomes\n44 sensational \" ....the sensation of Europe,\nwhen it is placed upon the stage and well\noiled and painted by grease paint, lighted by\nelectric light or other artificial means and\ngazed at by an opera=glassed public who no\nmore know what 44 classic \" means than they\nknow that the Censor exists.\nBut that Mr Robert Ross should want to\nremove the Censor,... the one man who will\nprotect us from an avalanche of artificial\nnudities and from a number of utterly horrible\nexhibitions of passions upon the stage,... that\nMr Ross should wish to do this is very short®\nsighted. &\nMr Ross knows a group of earnest writers\nwho wish to be free to write whatever they\nplease on any earthly subject. What is to\nprevent these writers writing? Oh, if you\nplease, they will only write if they can get\ntheir plays accepted at a theatre. JZ?\nSo you see it is success and money they aim\nat, not the writing of a play. For anybody is\nat liberty to write what he likes. But what\nMr Robert Ross in the enthusiasm of the\nmoment forgets is the awful consequence of\nthe Censor permitting one of these earnest\nwriters the liberty he asks. The consequence\nwould be that a thousand catch=penny writers\nwho have already got their plays written and\nare only waiting for the Censor to give in,\nwould instantly flood England with these so®\ncalled 44religious\" and 44 pyschological\" plays\nwhich would be sure to be acted in a way\nwhich would revolt the feelings of the better\nsection of the public.\nThe Censor is entirely right if he hold us\nharmful to the public the representation of\njealousy, ambition, hatred, meanness, envy,\nmurder, torture, seduction, riot and all the\nother themes which would be seized upon if\nthe dramatist had the opportunity. It does\nnot matter whether the play have a good\nending or a bad ending, whether a murderer\nsucceeds or fails. Remember what Nietzsche\nsays. & & &\n44 Stage-morality. — He who believes that\n44 Shakespeare's stage has a moral effect and\n4> that the sight of Macbeth irresistibly detracts\n44from evil ambition is mistaken. And he is aga=\n44 in mistaken if he believes that Shakespeare\n44 himself was of this opinion. Any man who is\n44 really possessed by mad ambition will watch\n44 this, his emblem, with delight; and the very\n44 fact that the hero perishes in his passion is\n44 the strongest charm in the hot cup of this\n4< delight. & & &\nAnd this of course is what every artist knows.\nIt is what the preachers do not know. The\npeople are like savages. The writers\nand painters and actors who think like\nmissionaries believe they can tame the\nsavage thing by representing to it its\nweaknesses. The artist knows that such\nkind of treatment is tomfoolery. The artist\nknows that there is only one cure for the\nworld.... if cure is needed, and that is the\nopen air treatment and the leaving well alone\ncure, and therefore they toil from morning\nto night to produce works of beauty.\n44 Beauty in art \"as Nietzsche always implied\nis the u imitation of all that is happy\" and, he\nadds, \" this I consider the truth The Censor\ncannot go far wrong if he is as austere as a\nDante would have been, as a Leonardo da\nVinci or a Nietzsche.\nBehind all these men march the great masters,\nand if we are not to follow the great masters\nthen we are to follow the two penny halfpenny\nmasters. The Censor seems to be of the\nopinion that we should be guided by the great\nmasters, and in this we agree with him\nentire y.\nHjphere are those among our critics who tell\nus that our wish to restore beauty to the\ntheatre by restoring vitality to the theatre\nis an excellent thing but that the methods\nemployed for bringing this about must be\nrather more brutal and a little less remote\nthan those adopted by us. zz? &\nSo many clever critics have told us this,\nand we note that the critic of the Burlington\nMagazine, itself a very high toned paper, tells\nus the same thing. &\nWe shall commence to be a little more\nbrutal in our methods very shortly and\nthereby hope to give entire satisfaction. Up\ntill now we have been content to state our\ncase, to show the need for not merely rather\nremote reforms but brutal revolution. That\nis to say, we have thought necessary to show\nto the best of our ability the entire weakness\nat the roots of the art and the institution.\n& The critic of the Burlington tells us that\nit is not too late for the reform of the modern\nstage, and at the same time tells us to be\nmore brutal. & JZ/\nNow reform is anything but brutal. It is\nprecisely the opposite of this. Reform is a\nthing which must take a very long time to\nbring about and as we stated in our first\nprospectus, we have no intention of attempting\nsuch reform; thereby meaning that slow\nand gradual reform as the word is\nunderstood in England, is not to be thought\nof for a moment. Radical reform is another\nmatter and we are entirely in agreement\nwith those who hold that radical reform is\nnecessary.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c030", "article_bluemountain": "bmtnaau_1908-09_01#c030", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "148", "image_debut": 22, "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=bmtnaau190809-01.2.13.2", "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": 22, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "debut_caractere": 3863, "fin_caractere_exclue": 4980, "texte": "nPhe announcement made in the August\nnumber of \"The Mask\" that Mr Gordon\nCraig has been invited to four European\nCapitals to produce plays will not be at\nall welcome to that group of grumblers\nin England who find Mr Craig's work\neverything that is eccentric and foolish.\nThese grumblers belong to the class who\nwish to see the arts handled in the same way\nas cheap journalism. & &\nWe have for a long time past had our eye\nupon the papers and have noted that these\nsneers come from particular quarters. That\nMr Craig has not been long ago accepted in\nEngland and given a theatre of his own in\nwhich to work out to the benefit of the\ndramatic art in England his different ideas\nis in some way due to the croaking of these\nignorant creatures. They have given\nthe public an utterly wrong idea of the son\nof Ellen Terry. Such critics are met with at\nall times and in all lands: they are a disgrace\nto the nation that is foolish enough to listen\nto what they. have to say. Such men have\nalways attempted to kill off the poets, painters,\nmusicians and other artists. Sometimes they\nhave managed to kill the man, but his work"}, {"page_pdf": 23, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5698, "texte": "has lived afterwards to prove them and their\nignorant animosity unworthy of the country\nwhich shelters them. But sometimes they\ncome across artists who have no intention of\nbeing destroyed, or of letting their work be\ndestroyed, and it is then that they may be\nsaid to meet just what they do not want to\nmeet, that is, their match. z® z®\nTheir attitude is a very sly and clever one,\nbut we think it is a little too sly for England.\nThe attitude is that of the protector. Some-\ntimes these critics are women but as a rule\nthese writers come before the public in the\nguise of good strong healthy Englishmen who\nwant to protect their country from what\nthey are pleased to call and\nunhealthy art\" which makes your head ache\nand all the rest of it, and the men they\nchoose to attack are those who want to do\nthe most thorough work and have the work\ndone in the most thorough way: in fact, they\nattack the most athletic workers. Thus you\nsee the critics praising up a weak and flabby\nacademician and calling Augustus John's\ndrawings and paintings \" clever but\nunpleasant \". Thus you see such critics\npraising some cheap and popular poet whose\nverses are a disgrace to the intelligence of\nEngland, yet attacking the work of a Meredith\nor a Swinburne; and this was only yesterday.\nThis does England harm in many ways. It\ndelays the arrival of the best things, it\nbenefits foreign countries that are prepared\nto profit and who do profit by them and it\nruns the risk of making the name of the\nEnglish critic the laughing stock of Europe.\nAubrey Beardsley, whom this type off critic,\nwithout understanding calls immoral and\neecentric, is studied by foreign critics and\nfound to be a genius, and after he has been\nkilled is at last praised in unqualified terms\nfor his remarkable achievements. j®\nPatriotism and art are things which can\nnever be connected, but patriotism and\nfirst class work are closely allied, and for\nthe first class artists to be permitted to be\ninsulted by the tenth rate critics shows a\nlack of patriotism on the part of the rulers\nof the Press, J® The younger artists whose\ninfluence is beginning to be felt should be\nable to reckon on the support of the leaders\nof the Press, not because of their art but\nbecause of their first rate work. & z®\nWhen you speak of a soldier it goes without\nsaying that he is a brave man. What you have\nto write about is the athleticism shown by him\nin mind and body. It is precisely the same\nwith the artist. It is folly to write about the\nArt of the artist for without Art he is no\nartist. What may be written about is the\nathletic quality of his work; bearing in mind\nthat the athletics of the body and of the soul\nare two different things. This is not forgotten\nwhen speaking of the soldier. The arts of\nwar are rather dangerous things to criticize\nthough we may be sure that those extraordinary\narts have never been written about in the right\nspirit by any critic who was not a poet at the\nsame time. Thus we have perhaps the only\ntwo war critics in Homer and Walt Whitman.\nSuch criticism is indeed criticism. It inspires\nwhile it describes, and even while it\nblames. But when the English critic,\nwho is devoted to the arts of peace,\ncommences to write he becomes ashamed of\nhimself and of what he is writing and so he\nsneers at all that is beautiful in these arts\nof peace. He has been for so long accustomed\nto sneer with impunity that he looks upon\nthe artist as a poor worm that will never turn\nand this explains the quality of his criticism.\nNow these sneering critics should, for the\nsake of the standard of English journalism,\nand for the sake of the country, be severely\ntaken in hand by the leaders of the Press,\nby the masters who are in the privileged\nposition of raising their profession or of\nlowering it.\nIn the Daily Telegraph of August 19 Mr\nRobert Ross makes an extraordinary attack\nupon Mr Redford, the Censor of plays\nand he calls the Law of England 'stupid*. &\nThe law of England is a very excellent law\nand we do not think that those who protect\nus by formulating that law will be carried\naway by the momentary thirst of a section\nof the public for ugliness in the shape of the\nactualization of religious subjects on the\nstage of a theatre or the actualization of\npictures or sculpture.\nThe Censor, Mr Redford, would really seem\nto possess an extraordinary sense of the\nlimits of art. He is held up to us as an ass\nand a monster, and is positively a man in a\nmillion, one who understands. He protects\nus, and with a natural ingratitude we wish\nto do away with him. &\nTo be Censor of things Dramatic must be a\nvery difficult position.\nWe cannot understand how the burlesque of\nMiss Allen's Salome with the comic head of\nJohn the Baptist (horrible!) was ever\npermitted to get to the public. But then we\ncannot understand how Miss Allen herself was\never allowed on to the stage of the Palace\nTheatre. & Possibly Mr Redford was\ndeceived about the whole matter, or possibly\nhe only controls what is written. Anyhow\nit is quite unlikely Mr Redford will let\nhimself be deceived a second time.\nFor, dear Miss Allen, there is the open air,\nthe wonderful open air, in which to dance,\nand nature is one thing and art quite another\nthing. Your charming hands and feet would\nlend a grace to the lawns and gardens of\nEngland and would not be out of place there:\nall would be natural; whereas on the stage\n...well, we have had Pantomime at Drury Lane\nfor years, and the limbs of the ladies have\nbecome quite a delightful convention.\nIn Paris we believe the intelligence of woman\nhas devised the extremely chic idea of dancing\nentirely naked in front of artificial light. This,\nby the way is not Greek; it is Parisian, and\nit has amused even the"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5010, "texte": "Now why not dance naked upon the stage at\nthe Palace? Why not?.... Why? Nudity is\nnothing very extraordinary. It only becomes\n44 sensational \" ....the sensation of Europe,\nwhen it is placed upon the stage and well\noiled and painted by grease paint, lighted by\nelectric light or other artificial means and\ngazed at by an opera=glassed public who no\nmore know what 44 classic \" means than they\nknow that the Censor exists.\nBut that Mr Robert Ross should want to\nremove the Censor,... the one man who will\nprotect us from an avalanche of artificial\nnudities and from a number of utterly horrible\nexhibitions of passions upon the stage,... that\nMr Ross should wish to do this is very short®\nsighted. &\nMr Ross knows a group of earnest writers\nwho wish to be free to write whatever they\nplease on any earthly subject. What is to\nprevent these writers writing? Oh, if you\nplease, they will only write if they can get\ntheir plays accepted at a theatre. JZ?\nSo you see it is success and money they aim\nat, not the writing of a play. For anybody is\nat liberty to write what he likes. But what\nMr Robert Ross in the enthusiasm of the\nmoment forgets is the awful consequence of\nthe Censor permitting one of these earnest\nwriters the liberty he asks. The consequence\nwould be that a thousand catch=penny writers\nwho have already got their plays written and\nare only waiting for the Censor to give in,\nwould instantly flood England with these so®\ncalled 44religious\" and 44 pyschological\" plays\nwhich would be sure to be acted in a way\nwhich would revolt the feelings of the better\nsection of the public.\nThe Censor is entirely right if he hold us\nharmful to the public the representation of\njealousy, ambition, hatred, meanness, envy,\nmurder, torture, seduction, riot and all the\nother themes which would be seized upon if\nthe dramatist had the opportunity. It does\nnot matter whether the play have a good\nending or a bad ending, whether a murderer\nsucceeds or fails. Remember what Nietzsche\nsays. & & &\n44 Stage-morality. — He who believes that\n44 Shakespeare's stage has a moral effect and\n4> that the sight of Macbeth irresistibly detracts\n44from evil ambition is mistaken. And he is aga=\n44 in mistaken if he believes that Shakespeare\n44 himself was of this opinion. Any man who is\n44 really possessed by mad ambition will watch\n44 this, his emblem, with delight; and the very\n44 fact that the hero perishes in his passion is\n44 the strongest charm in the hot cup of this\n4< delight. & & &\nAnd this of course is what every artist knows.\nIt is what the preachers do not know. The\npeople are like savages. The writers\nand painters and actors who think like\nmissionaries believe they can tame the\nsavage thing by representing to it its\nweaknesses. The artist knows that such\nkind of treatment is tomfoolery. The artist\nknows that there is only one cure for the\nworld.... if cure is needed, and that is the\nopen air treatment and the leaving well alone\ncure, and therefore they toil from morning\nto night to produce works of beauty.\n44 Beauty in art \"as Nietzsche always implied\nis the u imitation of all that is happy\" and, he\nadds, \" this I consider the truth The Censor\ncannot go far wrong if he is as austere as a\nDante would have been, as a Leonardo da\nVinci or a Nietzsche.\nBehind all these men march the great masters,\nand if we are not to follow the great masters\nthen we are to follow the two penny halfpenny\nmasters. The Censor seems to be of the\nopinion that we should be guided by the great\nmasters, and in this we agree with him\nentire y.\nHjphere are those among our critics who tell\nus that our wish to restore beauty to the\ntheatre by restoring vitality to the theatre\nis an excellent thing but that the methods\nemployed for bringing this about must be\nrather more brutal and a little less remote\nthan those adopted by us. zz? &\nSo many clever critics have told us this,\nand we note that the critic of the Burlington\nMagazine, itself a very high toned paper, tells\nus the same thing. &\nWe shall commence to be a little more\nbrutal in our methods very shortly and\nthereby hope to give entire satisfaction. Up\ntill now we have been content to state our\ncase, to show the need for not merely rather\nremote reforms but brutal revolution. That\nis to say, we have thought necessary to show\nto the best of our ability the entire weakness\nat the roots of the art and the institution.\n& The critic of the Burlington tells us that\nit is not too late for the reform of the modern\nstage, and at the same time tells us to be\nmore brutal. & JZ/\nNow reform is anything but brutal. It is\nprecisely the opposite of this. Reform is a\nthing which must take a very long time to\nbring about and as we stated in our first\nprospectus, we have no intention of attempting\nsuch reform; thereby meaning that slow\nand gradual reform as the word is\nunderstood in England, is not to be thought\nof for a moment. Radical reform is another\nmatter and we are entirely in agreement\nwith those who hold that radical reform is\nnecessary.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c033", "article_bluemountain": "bmtnaau_1908-09_01#c033", "volume": "bmtnaau_1908-09_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=bmtnaau190809-01.2.15", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.2", "debut_caractere": 591, "fin_caractere_exclue": 954, "texte": "ALMANACK FOR\nARCHITECTURE\nART S* CRAFTS\n<?TECHN1CAL>#\nfloff SBSic*\nG] HI El\nANEW C A TALOQ U E\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 W 30 # NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN *"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c034", "article_bluemountain": "bmtnaau_1908-09_01#c034", "volume": "bmtnaau_1908-09_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=bmtnaau190809-01.2.16", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.2", "debut_caractere": 956, "fin_caractere_exclue": 979, "texte": "THE BUTTERFLY\nQUARTERLY"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c035", "article_bluemountain": "bmtnaau_1908-09_01#c035", "volume": "bmtnaau_1908-09_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=bmtnaau190809-01.2.17", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.2", "debut_caractere": 981, "fin_caractere_exclue": 1376, "texte": "IS A NEW PUBLICATION, CAREFULLY\nPRINTED FROM EXCELLENT TYPE,\nON FINE TONED PAPER, 8xio 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 &\n•S>O£FICES^>\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c036", "article_bluemountain": "bmtnaau_1908-09_01#c036", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "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=bmtnaau190809-01.2.18", "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": 25, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.25", "debut_caractere": 1609, "fin_caractere_exclue": 1857, "texte": "The principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs:\nB—M—MT Wl 'I'll \" tmniMn^yOTrwrnHtwMOTKWmww u\nWahlstrom & Widstrand, Stockholm\nPUBLISHED MONTHLY &\nm\nS *A\\ '10+1& V/<£«\n•vyi\nif\nORB\n«\ng£s®\nHI\nSt\nBILDc\nOCH"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c037", "article_bluemountain": "bmtnaau_1908-09_01#c037", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "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=bmtnaau190809-01.2.19", "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": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 475, "texte": "THE PAPYRUS\nEdited by Michael Mo nah an\nA Magazine for the Magazine«Weary\nCHICAGO NEWS.—The Papyrus holds a unique\nplace among the magazines and is always stimu-\nlating and interesting. & & &\nERNEST McGAFFEY.—77fe Papyrus Is a stor-\nmy petrel flying over an infinite sea of bosh. &\nPUTNAM'S MONTHLY.—There is sun, wind and\nrain in Michael Monahan's whimsical fancies.\nSubscription One Dollar a Year\n25 cts: additional for foreign countries\nTHE PAPYRUS\nEAST ORANGE, NEW JERSEY"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c038", "article_bluemountain": "bmtnaau_1908-09_01#c038", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "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=bmtnaau190809-01.2.20", "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": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.26", "debut_caractere": 477, "fin_caractere_exclue": 1022, "texte": "Every reader of the English language will be\nInterested in a Magazine that is doing the work of\nThe Book News Monthly\nan Illustrated magazine devoted to Literature and\nArt, published in Philadelphia, Pa., U. S. A, at\n10 c. a copy, L. 1,00 a year.\nThe purpose of THE BOOK NEWS MONTHLY is\nto Save Time, to Interest, Instruct, and Guide the\nGeneral Reader. & & & &\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\nThe International News Company.\nAddress:\n& THE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A. &"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c039", "article_bluemountain": "bmtnaau_1908-09_01#c039", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "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=bmtnaau190809-01.2.21", "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": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.26", "debut_caractere": 1024, "fin_caractere_exclue": 2589, "texte": "& THE MOSHER BOOKS\n& £> MDCCCXCI-MCMVIII & & &\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 has 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.\nTHOMAS B. MOSHER jS/ PORTLAND. MAINE U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c040", "article_bluemountain": "bmtnaau_1908-09_01#c040", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "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=bmtnaau190809-01.2.22", "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": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.26", "debut_caractere": 2591, "fin_caractere_exclue": 4062, "texte": "A PORTFOLIO OF ETCHINGS.\nBy Gordon Craig & with a preface.\nthirty portfolios will be issued, although ten or twenty additional copies of some of\nme 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 x15 2/3 ctms. The price for a portfolio will be L. 16 .o. o, (400 Francs or 320 Marks),\nnphese 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.\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture \". & & £?\n» C l,i 41 * C # V # v* ** C» * &\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress,"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c041", "article_bluemountain": "bmtnaau_1908-09_01#c041", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "151", "page_fin": "151", "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=bmtnaau190809-01.2.23", "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": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 501, "texte": "LIBRAIRIE ANCIENNE\nT. DE MARINIS & Co. 5 Via Vecchletti - FIRENZE\n0\nta\nIn\na.\nwtr*/1\nl|U»\nrutr\nll\nfil\nJjUUk\nJcnz\n»//\n*«\n• a\nIL\nA.\n• •\nCl\n55\n• It I\nai\nt\nIt!\nII *\ny\nun\nfesL\nSuLJ\nin\n*3/\nULUJl\nU\n«ir\nMil\n00\n<• ••\nSS5S5\n¥\n□ 0\n71\nill!\nMM\n501\nnan\nDO\nhi\nin\nin\n*\nii\nli\nIIIM\n» 0\nL«»i\n□ li\n(II\n<2\nII11\n-tU?\nIIH2\nJ\nJj-i\n0 op\n'u\n• MM\n111\nH\n»!•••\n—' vuvu-IAT\nin •«»\n■~~<Tru w\n—tny\nii»« I /r\nW\n• ••••\njPine Collection of MSS.f Incunabula, raie and curious books XV-X1X cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c042", "article_bluemountain": "bmtnaau_1908-09_01#c042", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "151", "page_fin": "151", "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=bmtnaau190809-01.2.24", "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": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.27", "debut_caractere": 503, "fin_caractere_exclue": 798, "texte": "THE SOCIETY OF FOUR\na.\nd\nc\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS FROM\nTHOSE DESIROUS OF PURCHA-\nSING SHOULD BE ADDRESSED\nTO THE \" SOCIETY OF FOUR\" AT\nTHE ADVERTISING OFFICES\nOF \"THE MASK BORGO SAN\nJACOPO, 8. FLORENC (ITALY)"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c044", "article_bluemountain": "bmtnaau_1908-09_01#c044", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "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=bmtnaau190809-01.2.26", "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": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "debut_caractere": 145, "fin_caractere_exclue": 564, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £>\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works, Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases & Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904\nFLORENCE\nVia dei Fossi 4 /z?\n(ESTABLISHED i860) £>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c045", "article_bluemountain": "bmtnaau_1908-09_01#c045", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "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=bmtnaau190809-01.2.27", "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": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "debut_caractere": 566, "fin_caractere_exclue": 826, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei Fossi N. x - FLORENCE\n♦\nHeproduetion of sculptures of Old and\nJUodern masters ** Statues ** Busts M\nVases M Bas-reliefs ** Fountains M Doors\nChimney-pieces •* Bases etc. ete. In\nevery style J& J&"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c046", "article_bluemountain": "bmtnaau_1908-09_01#c046", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "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=bmtnaau190809-01.2.28", "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": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "debut_caractere": 828, "fin_caractere_exclue": 1044, "texte": "Die Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60\nBerlin W. 15.\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. „ 50\nYearly . . . . „ 12. „ 00"}]}, {"article_id": "bm-bmtnaau-1908-09-01-c047", "article_bluemountain": "bmtnaau_1908-09_01#c047", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "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=bmtnaau190809-01.2.29", "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": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "debut_caractere": 1046, "fin_caractere_exclue": 1300, "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.\nSample copies on request free of\ncharge. Foreign subscriptions 50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-09-01-c048", "article_bluemountain": "bmtnaau_1908-09_01#c048", "volume": "bmtnaau_1908-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "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=bmtnaau190809-01.2.30", "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": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "debut_caractere": 1302, "fin_caractere_exclue": 1627, "texte": "Philosophical\nLending Library\n5000 volumes on Philosophy, Religiony\nMysticismf Occultism, 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.\nPIAZZA DONATELLO 5 - Tel. 15=30\n- --- -"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.1", "texte": "ruTJ.IS1; Haldane Macfall\nVol. I. N.° 7.\nSEPTEMBER\nI908\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. JZ/ JZ? jSf\nBERLIN. SOLE GERMAN AGENT - SCHUSTER & BUFLEB. Nollendoristiasse 31. W-\n.AMSTERDAM. KIRBERGER & KESPER. 134 Rokin. JE> £> 0\nBUDAPEST. NAG EL OTTO Mnseum-Kornt, a\nM O S C O U. \"LA BALANCE \" Office, Place du Theatre £>£?£>£/&\nPHILADELPHIA. U. S. A.\" THE BUTTERFLY \" Office. 1126 Walnut Street. 0\nFLORENCE, s, BORGO S. JACOPO -<s> &&&£?&\nPRICE ONE SHILLING, NET MONTHLY"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.2", "texte": "NEW ADDRESS.I\nThe present offices not being sufficiently roomy to carry on the increasing work\nof the magazine, THE EDITORIAL & PUBLISHING DEPARTMENTS of\nTHE MASK will shortly be transferred to new premises. Pending this\nremoval ALL COMMUNICATIONS should be addressed to the Advertising\noffice, 8 BORGO SAN IACOPO.\nAll Subscribers, Contributors and Agents are asked to make a note of this.\nTHE MASK, 8, BORGO SAN IACOPO, FLORENCE\nC ?VJ?Ir7!??rIVl? «TS ADI)RESS TO \" THE MASK \" ADVERTISING OFFICE: 8 BORGO S. JACOPO <<2?\n& & FLORENCE &IT A L Y OR TO THE LONDON., GERMAN, OR OTHER AGENTS & &\n\nALMANACK FOR\nARCHITECTURE\nART S* CRAFTS\n<?TECHN1CAL>#\nfloff SBSic*\nG] HI El\nANEW C A TALOQ U E\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 W 30 # 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, 8xio 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 &\n•S>O£FICES^>\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}, {"page_pdf": 4, "page_imprimee": "[128]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.4", "texte": "DESIGN FOR A STAGE SCENE. by JULIUS OLIVER."}, {"page_pdf": 5, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.5", "texte": "»-w-4w w Tir—*4 mm A V jr- THE JOURNAL OF THE ART\nI I—I 17 /l/l A 1/ OF THE THEATRE.\n■ I IWI /-% |\\ VOLUME ONE, No. SEVEN\n.4 I R.1 *4 1 ▼ Hi. Jl SEPTEMBER I 9 O 8.\n\nCONTENTS\nAFTER THE PRACTISE THE THEORY\nj£> A NOTE ON A STAGE SCENE by THE DESIGNER -<S> YVETTE\nGUILBERT, AN IMPRESSION by HALDANE MACFALL ROGUES AND VAGABONDS £>\nTHE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS by E. W. GODWIN\nTWO WORDS AND THEIR MEANING A NOTE ON AN OLD ENGRAVING, by ALLEN\nCARRIC 0 \" BEAUTY IN ART by NIETZSCHE SHAKESPEARE'S PLAYS by GORDON\nCRAIG BOOK REVIEWS £> FOREIGN NOTES £> EDITORIAL NOTES & ENGRAVINGS\nby GORDON CRAIG, J. OLIVER, CHARLES BORROW, C. TICKETTS & OTHERS. JSf £>\n\nA NOTE ON A STAGE SCENE\nE. W. Godwin.\nHpo be misunderstood may be to be great. To misunderstand is only deliberate carelessness.\n& A design for a stage scene should need no explanation:... but where is the harm in\ntrying to make a thing clearer by words when the design itself has failed ? & The failure\nis not mine: it is yours, and I don't for an instant believe you will understand it a scrap\nbetter after you have read this note. But you will feel that something is wrong with you\nand that is all I want you to feel.\nTo begin with, this is only a design for a scene and not the scene itself. The language\nof a scene differs from a design on paper. 1 have translated the scene freely and not with\nan exactness demanded by the Berlitz School. Look at it freely and without that brain\nsnobbery which deadens the gaiety of life and all will be well. Be content not to understand\nit all at once and we shall be friends. But if you look at it through a film of quite\nunnecessary bitterness awakened by the delusion that you are being fooled, then you will\nbe utterly nonplussed and the thing will make you furious or bitter or disdainful. &\n& I would prevent this if possible. What is it ? Only what you like to make it. If you can't\nhang a thought on it give it up. If you can it will perhaps repay you. Best if you find\nit to be one of the following things. A scene expressing the idea of two forces, mobility\nand immobility,... or.... it is a scene representing the city of Troy in flames,... or.... a scene\nfram Shakespeare's Troilus and Cressida in all its accuracy of detail, period B. C. II84»900.\nThe pillar in the foreground is one of the supports of the door of that period: that in the\nmiddle distance another and in the background you can see the walls. Flames and smoke\ncomplete the design.\n& You may take your choice as to which of these three solutions you accept, but as I have\nnow given you a choice you can no longer accuse yourself of not being able to understand it.\nTHE DESIGNER.\nof costume, etc, in pictures, whether on canvas or on the stage, should be\neither altogether wrong or wholly right."}, {"page_pdf": 6, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.6", "texte": "YVETTE GUILBERT\nAn Impression\nby Haldane Macfall.\nuddenly a hoarse roar of welcome bursts from the gloom\nbeyond the orchestra, betraying the dim throng that sits\ndensely packed in the dark hollow of the theatre of\nvarieties, and there steps quickly before the footlights\nwith a pretty touch of the shoulders and smiling at the\nclamour of their greeting,... Yvette Guilbert. As she\nstands radiant there in white there enters almost stealthily\na young man in evening dress, a dandified fellow, his\nhair brushed back from the cleanshaven face, his dress\nof an early Victorian picturesqueness that proclaims the\nFrench student of the artists' quarter, and seats himself\nat the piano. &\nThe thunder increases and {alls away; rises again; and again conies the gust of acclaim:\nYvette Guilbert! She bends her ringletted head of chesnut coloured hair, and bows in her\nwide crinolined skirts of white silken fulness, sprigs of roses clustered upon them; and\nsmiles a strange smile in answer to the salutation of a hoarse-throated applause. A little\ninvoluntarily the brows gather as though in nervous distress at the prolonged din. Her\nhand, gloved only to the wrist of the white arm in the quaint habit of a bygone day, is\nheld out to hush the hails of the multitude. It creates stilly silence. Yvette Guilbert\nannounces \" Les Cloches de Nantes \". & & &\nThe voice has that husky note of the dramatic utterance.... they all have it, Ellen Terry,\nYvette Guilbert, Duse, all. The piano sends out a ripple of lightly struck chords upon the\nexpectant hush. And she, archly tossing her head, lilts the opening lines of the old\nFrench ballad.\n& At once the actress is in possession of the house. Almost before the first note is fully\nuttered, that dramatic voice and absolute gesture have gripped the heart; quickly the old\nballad comes back to life, fragrant with the aroma of ancient days. Romance has stepped\ninto this lime-lit place. The years roll back; and we are sighing with the jailor's\ndaughter where she gazes, her eyes tear-wet, upon the empty cell that she has helped to\nmake a part of the aching void in her heart.... nerves thrill, the lip quivers; there leaps\nstraight into our stilled imagination the haunting picture, and takes possession there. &\nIn the prison of Nantes there is prisoner, a prisoner whom no one EVER goes to see\nbut the daughter of the turnkey. Ah! ah! ah! - Ah! ah! ah!.... Whom no one ever goes to\nsee but the daughter of the turnkey, she who takes hiin water to drink, water to drink,\nand food to eat. Ah! ah! ah! - Ah! ah! ah!....\"Ah me! since tomorrow I die, strike the fetters\nfrom my feet. Strike - the fetters - from = my feet\".... All the bells of Nantes got them\na-ringing: Ah! ah! ah! - Ah! ah! ah! All the bells of Nantes got them a-ringing.... The little\nmaid's a young thing. She begins to cry. Ah! ah! ah! - Ah! ah! ah!.... The little maid's a\na young thing She frees his feet a-weeping ...She - frees = his feet - a=weeping.\nQuick the prisoner with a bound leaps into the river. Hey! hey! hey!.... Hey! hey! hey! Leaps\ninto the river So here's to girls of Nantes! Likewise to all prisoners! Ho! ho! hey!....\nHa! ha! hah!\nJZ> Ay; in those all too few swift speeding minutes of song, by her magic, just standing\nthere in that quaint fantastic garb that in no slightest degree aids her in creating the\npictured thing, the art's skill of this wonderful woman has banished space and time and\nthe dark hushed world of eager faces in the surrounding gloom, and we are back to the\nyears and air and pathetic winsomeness of the old tragi-comedy. We leap into the tide\nthat flows by the walls of Nantes, and eagerly, as with the cramped limbs of the prisoner,\nwe are breasting that flow to the sea, and all the while, sounds the carillon of bells, that\npeal above the town of Nantes, now sad, now triumphant, now eager, now sobbing, running\nlike litany through all the vision, yet even as the youth stands free, drinking to the\njailor's daughter, the carillon contracts one's heart, for there are tears in the eyes of the\ngirl who bows her head in the empty cell..,, alone, & *\n\nHer entrance.\nHer voice.\n\" I,es cloches de\nNantes .\nThe achievement\nof her magic."}, {"page_pdf": 7, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.7", "texte": "& This is supreme acting, the indescribable consummate compelling thing that no mortal\ncan teach; that it is given only to genius to do. No rule nor plummet can measure it;\nno laws produce\n& it has all been roused in us, this vision, so completely that one starts at the thunder\nof applause which leaps at the music's ending. Read the simple lines in cold blood; and\nyou wonder how, from such scant fabric she has woven so rich a tapestry. &\nYvette stands smiling and bowing. & This is no longer the slender Yvette of the\nsimple dress and the long black gloves who was the idol of the students of the Latin\nQuarter « well - but a few years ago, when all's said. Those were the days of the craze\nfor the prison=songs, the devil=me=care lyric, up at Aristide Bruant's cafe, where mine host\nwith rough affectation of brutality and brusquery, accosted one in surly fashion at the\ndoor, then leaping on to the table in his heavy long boots, sang the glories of prisons and\nof jail=birds. You will say that the Yvette of the old French ballad has usurped the Yvette\nof the older ruder fashions = No. The black cap of the ouvrier is on her head, a muffler\nround her throat. A few sombre chords float out upon the smoke laden air; and, at a\nstroke, we are back with Yvette of the old days.... for all the whimsical skirts of the\nvoluminous crinoline. The shoulders are up; the jaw thrust out; and the gutteral voice\nof the hooligan lad of Montmartre, with its emphatic curtness of suggestion and intensity\nof .utterance, sounds roughly across the footlights. &\n& You lean forward, straining to interpret the jargon.... even a cultured Frenchman follows\nthe slang with difficulty. But Yvette's dramatic skill flashes the meaning across the\ntheatre, it is the very statement of the vile soul of the lad, the youth of the factory quarter\nwho knows no honest toil, who indeed schemes ever with the calculated industry of crime\nto evade that toil.\nConceited in his blackuardisms, glorying in what manhood would hide as a thing of\nshame, boasting of bleeding the girls of their money, proud of doing no honest thing in\nhis day, vaunting his coward kick that lays the constable low, arrogant in his lack of\nfriends, gloating in the hate of his fellow men and the fear of his fellow scoundrels, he\nwould have you know that he is no daylight lark, ho! ho! not he. He comes out at\nnightfall, when the rich blokes are out strutting it in their silk hats and evening dress\nwhat? Some fool of them has strolled alone, Gawd help him! I> 11 soon turn out the\nswaggering fellow's pockets, and give him a fright, no fear! And if the fool shows fight,\ndown he '11 go ....what? He's hurt! Gawd!.... where can I put him.... Here! wake up!.... Holy\nmiracle! a constable! Here, get up you fool! wake up, d'ye hear. Caught! my Gawd!\nWhat's this? the judge, and the condemned cell! Morning's near broke » what's that?\ngreat God! the guillotine. They're saluting my head! \" The foul braggart oath and the\nbluster are done. The figure of the terrified lad crouches in terror, the hoarse gutteral\nwords hang in the air.... die out.\nAgain the shout leaps out of the pitchy blackness of the theatre; the black cap and the\nscarf are whipped off and flung aside; Yvette stands up, the illusion vanishes, reluctantly\nit goes, so complete has it been, holding one's senses as in a vice.\nThis I say is supreme acting. How those few rough lines have been made to tell the\nwhole ugly tragedy, to build up the distorted life !\n& Yvette Guilbert, her eyes sparkling mischief, her figure and demeanour all demure, is\ncarolling in English, English with just that delightful childish trace of accent that makes\nour tongue, spoken by the French, the most fascinating of foreign translations, the simple\nhumourous song of \" Mary was a housmaid \" or 6i I wonder when I shall be married, oh,\nbe married \". And with what wealth of suggestion, with what whimsical humour and keen\ninsight, she enriches the meaning of each slightest sylable, until the very hummed lines\ngive out a dramatic meaning in their significant comedy.\nEqually at home in tragedy and comedy, in pathos and in humour, with a skill and style all her\nown is Yvette... the inimitable. Here is a profound actress. By some strange chance she has found\nin a few short lyrics a scope for her genius which yields her a larger field of drama than\nfive acts can win for most full casts. Listen to quite a clever songstress sing the \" Keys of\nHeaven\"; then listen to Yvette Guilbert; and you shall realise the vast gulf that yawns\nbetween genius and talent.\nIt is claimed for Yvette Guilbert that she has found in the old romantic French songs a\n\nYVETTE\nQUILB E R T.\n\nSupreme acting.\nThe Yvette of\nthe Z, at i n\nQuarter .\nThe song of the\nhooligan lad.\nAn English song\nYvette,.... the\ninimitable."}, {"page_pdf": 8, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.8", "texte": "higher field for her artistry than was hers before; I cannot bow to this. I never saw her\neven in the very earliest days, but that she was a woman of genius. Whatsoever she touches\nshe makes into a work of art. She is, within the limits imposed upon her by the music hall,\nas supreme a genius as ever stepped the stage. It cannot be otherwise, for it were impossible\nto state with more exquisite beauty and perfection and power the emotion that it is essayed\nto arouse. The gamut of the emotions, (the sole instrument of any artist whatsoever) called\nforth by her, ranges from sordid to sublime tragedy, from low to high comedy, from pathos to\nquaint whimsicality, and she plays each part with unerring surety and finesse; above all\nshe convinces, for whilst she holds the stage we walk by way of her personality throughout\nthe experience of every emotion she would make us feel.\nIt is astounding what sense she wrings from every syllable, from every phrase, of the ballads\nand songs she transmits into dramatic gems. Her pantomime, her inflection of voice, and\nher employment of the utterances of the throat to express the passions and emotions that\nmay be conveyed by words, are a revelation of the power that lies within words. And it\nis precisely in this achievement in this realm that an actor is a creative artist or merely\na clever and accomplished mimic.\nSuccess did not rush scrambling with smirk and smile of welcome, tripping in very eagerness\nover the ribbons of monstrous posies of flowers, to hail the first coming of Yvette Guilbert.\nShe had to battle her way. First came the humiliations that go with hanging about the\ndoors of managers, the aching anxieties that their evasive nod or blunt disapproval meant\nto a young woman with a gaunt figure, and the awkward carriage of the body that had still\nmuch of the gauche slenderness of a girl who has sprung up to womanhood too quickly.\nSuch was Yvette, when all is said. She had, frank truth to tell, not the airs and graces and\nfinished tricks of manner that go to make the battery to win success of the leading ladies of\nthe national theatre. The accent held the slurred drawl that mars for French ears the\nspeech of the industrial faubourgs. And Yvette's quick ears would naturally catch the accent\nof the faubourg du Temple, since there she was born on the 20th of January 1867.\nYet this girl needed but to be cast for an interesting part in order to reveal the powers\nof uttering comedy and tragedy that slumbered behind her ambitions. When Yvette Guilbert\nfirst stepped before the footlights, Paris was without a prophet. At the Nouveautes she\nmade her courtesy to the public in her twenty-second year in a one act play by Albert\nBrasseur. The thrill of facing the footlights was hers alone; neither audience nor manager\nsaw much more than the defects. At the she, however, was playing in the following\nyear with Rejane, Jadic, Baron, Lassouche, and others of a wide vogue; but neither players\nnor public had wits enough to recognise the genius of the slim beginner, so eager for conquest.\nAt last, one fine day, Yvette Guilbert, checked and baffled by the utter lack of recognition\non all hands, saw that the legitimate stage was not going to yield her the position for which\nshe felt certain that she was capable; so it came about that, thanks to an energy that has\nnever failed her, she abandoned the theatre and went straight to the music-hall, boldly\nasking Madame Allemand, the directress of Eldorado for an engagement. Madame Allemand,\nwith her shrewd eye for budding talent, put the young woman through her paces and offered\nthe delighted Yvette twenty four pounds a month! But the public were not used to the\nstyle and the personality of the newcomer and passed her performances by, unapplauding,\nwhich brought regret to Madame Allemand as to her prophecies and suspicions that she\nhad been mistaken in her discovery of a future star in the gaunt girl, so that she was soon\nputting Yvette on the stage at the opening of the evening's entertainement to sing to the\nempty benches, \"wiping the boards\" as the actor's slang has it.^\nAlthough Madame Allemand thus saved the digestions of the later arriving frequenters of\nthe Eldorado from the undue strain of trying to praise what they could not appreciate,\nYvette was not made of the stuff that seeks to cajole misunderstanding and disdain, or is glad\nto be accepted with sufferance. In some distress she protested; and her directress, frankly\nowning that her hopes in the girl had wholly failed, offered to cancel her contract or to\ngive her half her former wage to remain and continue to \" Wipe the boards \" every night.\nYvette, furious, vowed that she would never again sing there until she was offered for every\nevening the twenty-four pounds that they now refused to give her a month, and walked\nout of the Eldorado slamming the door behind her. &\nThe rest of the story is well known. That door slammed also upon Yvette Guilbert's\n\nYVE T T E\nGUILBERT.\n\nHer early days.\nHer birth .\nHer debut.\nFrom Theatre to\nMusic Hall.\n\"Wiping the\nboards."}, {"page_pdf": 9, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.9", "texte": "\"wiping of the boards\". She wiped the boards no longer; nor sang to empty benches. At\nthe Concert Parisien she made her hit, and was soon a star, and of the first magnitude.\nIn less than a couple of years from the slamming of that door, Madame Allemand was signing\na contract with Yvette Guilbert to sing for twenty«four pounds a night, and there was no\nclause about wiping the boards..,. At twenty=five she was a sensation. The hoardings soon\nheld posters on which she figured in rare designs by Sautrec; and Steinler has drawn her.\nGood fortune came early to her, as it needs must come to an actress, if ever.\nThe rest of her years have been one long triumph. It was her tireless energy, not her art,\nthat played her false at last. She burnt the candle at both ends, illness struck her down,\nand her life came near to paying the forfeit. But her strong will and love of life overcame\nthe weakness of her frail body; and, having recovered from her nervous breakdown after\na long absence from before the footlights, she reappeared at the Olympia, where she received\nsuch a tumultous ovation, and was so profoundly moved by the enthusiasm, that she lost\nher nerve, was unable to sing, and could only stammer forth the assurance of her happinness\nto be amongst them all again. They shouted for her to sing. \" I beg your pardon \" she\nsaid pathetically \" but.... I cannot\". & & & & & &\nHowever, she soon overcome the nervous strain that had nearly brought her to the grave;\nand has won to fame over the wide world. And it is not the least part of her bright\nachievement that she has breathed life again into the old French ballad that had lain so\nlong forgotten, folded and put away in lavender in the lumber rooms of a great people's\nhistoric and romantic past.\n\nYVE T T E\nGUILB E R T.\n\nAt the Concert\nParisien.\nHer triump k .\n\nROGUES AND VAGABONDS\nROGUE (French derived from Celtic) French, rogue, \" arrogant, proud,\npresumptuous, rude, surly; \" Cotgrave's Dictionary, Ed: 1660. Compare Modern English\nrogu-ish, saucy. The original sense was a surly fellow; hence a vagabond, derived from\nBreton, rok, rog, arrogant, proud, haughty, brusque. Cf. Irisk rucas, pride. (Doubtful;\nsee Scheler).\nVAGABOND, French derived from Latin. French, vagabond, \" a vagabond; \"\nCotgrave's Dictionary. From Latin, uagabundus, adj., strolling about: derived from\nLatin uaga=ri, to wander; with suffix » bundus. &&£?&&&"}, {"page_pdf": 10, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.10", "texte": "Six Greek\nPlays . &\nA Mi els u miner\nNight's Dream.\nThe Greek\nelement out-\nweighed.\n\nTHE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\nJncluding the doubtful one, there are no less than five plays\ndevoted more or lass to Greek story and one with a background\nso far deiived from Greece that I take leave to class it with\nthe others. These six plays refer to four different periods, and\nmaybe chronologically arranged as follows:—\nA Midsummer Night's Dream . )\nTroilus and Cressida. ... . j 1184—990\nWinter's Tale\nt- o ... B.C. 430—407\nTimon of Athens\nPericles B.C. 190\nComedy of Errors A.D. 300\nBut in affixing approximate dates for the action to these\ndramas I see no reason why certain of them—namely A\nMidsummer Night's Dream, Winter's Tale, and the Comedy of\nErrors— should not be considered as wholly belonging to\ntheir author's time. & & &\nThe proper names, Athens, Theseus, Hippolyta, /€;gle, Ariadne,\nwhich occur in A Midsummer Night's Dream, are no doubt\neminently Greek, but the woods where the two girls Hermia\nand Helena 44 upon faint primrose beds were wont to lie \" are\nas English as the clowns and the fairies, than which nothing\ncan be more English. The fact that Theseus refers to his\nbattle with the Amazons, and how he first conquered\nand then loved their Queen, Hippolyta, although strictly in\naccordance with the classic legend is hardly sufficient to weigh\ndown the host of improbabilities that crowd the stage when this play is produced with costume,\n&c., in imitation of Greek fashions. Again, when Theseus talks of the livery of a nun,\nshady cloisters, and the like, he is of course distinctly referring to the votaries of Diana;\nand when the ladies and gentlemen swear they swear by pagan deities, although the names\nthey give them are Roman. But Puck and Bottom—nay, even tall Helena and proud Titania\n—each is quite enough to overweigh the Greek element in the play. Still, if it must be\nproduced with classic accessories, we should do well to be true to the little there is of classic\nreference. Thus, although Theseus, in the heroic character we have of him, may be a myth,\nstill the connection of his name with that of fair Helen of Troy brings the man within the\nrange of archaeology. And thus we should be led to place his union with Hippolyta only a\nfew years before the siege of Troy. R>r although the story of the Trojan war was not long\nago regarded by every scholar as fabulous, with no more foundation at the furthest than\nthat which might be derived from the settlement of the Greeks on the north-west coast of\nAsia, now—if we accept as genuine the excavations and discoveries made by Dr. Schliemann—\nwe cannot but have some hesitation before we venture to draw a hard and fast line between\nthe fact and the fiction of the legend, if then the play of A Midsummer Night's Dream\nmust needs be acted, and if it must needs be classically clothed—and there are many reasons\nagainst both ifs—the architecture, costume, and accessories may very well be the same as\nthose in the play of Troilus and Cressida. One thing is or ought to be, quite clear, and\nthat is, that the Acropolis of Athens, as we know it, with its Parthenon, Erectheium, and\nPropvlae, has just about as much relation to the Greeks of the time of Ulysses or Theuses\nas the Reform Club has to King John. We have, indeed, to travel back, not merely beyond\nthe time of the Parthenon (438-420 B.C.), or beyond that of its predecessor (650 B.C.), but\nbeyond the days of Hesiod and Homer (900 B.C.), past the Dorian conquest of the Achaians\nin Peloponn&sos, and so higher up the stream of time until we reach the early period of"}, {"page_pdf": 11, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.11", "texte": "the Pelasgic civilisation. The siege of Troy has been calculated by some to have happened\nB.C. 1194=1184; by others it has been placed as far back as fifteen centuries; that is to say,\nbefore the foundation of Nineveh, and during the Egyptian rule in Assyria. The uncertainty\nthus shown leaves us free to choose between four dates. 1. The time of the author of the\nplay (1600 A.D.). 2, The time of the author of the story (900 B.C.). 3- The date\nassigned by one group of antiquaries to the events recorded in the story (1184 B.C.). 4. The\ndate assigned by some classical scholars as about the period of the siege of Troy (1500 B.C.).\nAs the difference between the latest date suggested for the real siege and the accepted\napproximate date of Homer's story of it is less than three centuries, as the poet may possibly\nhave incorporated into his work much that in his day was received as genuine tradition, as\nboth in Homer and Hesiod we have the most detailed descriptions to guide us, and as it may\nbe possible to reconcile much, if not most of Dr. Schliemann's genuine discoveries with the\ndescriptions, I would accept the period, 1184=900 B.C., in preference to any later or earlier\ntime as that wherein to seek the architecture and costume of the two plays above mentioned.\nA Room in the Palace of Theseus is the only architectural scene in a Midsummer Night's\nDream, and for the character of this interior we must turn to Assyria and Persepolis, to the\ndescriptions of Solomon's Temple and house of the Forest of Lebanon (B.C. 1005), and the\nfragments of Mycense and other Pelasgic towns. (See Layard's \" Nineveh \" and Texier's\n\" Asia Minor\"). >6?\n& In Troilus and Cressida we have in the text twenty-five Scenes, of which five are\narchitectural. These are\n1. Before Priam's palace.\n2. A room in the same.\n3. A street in Troy.\n4. A court before the house of Pandarus*\n5. A room in the same.\nIn the background of many of the scenes outside the town might loom the \" embattled\nwalls, \" the \" lofty towers, \" and the Scaean gate of world-famed Ilium, only it may be as\nwell to bear in mind that what an inhabitant of London, or Paris, or Carcassonne in the\nfourteenth century thought of embattled walls and lofty towers was a very different sort\nof thing from what a Greek understood by these words, for the word topats simply meant\na strong walled building; and thus the pylons of an Egyptian temple and the wings of the\nPropylsea at Athens were equally towers in the Greek sense. The bas-reliefs from\nSennacherib's palace at Koyunjik (B. C. 700) tell us something about embattled walls and\ngates. The walls might be built in regular coursed work, as at Mycenae, or of polygonal\nmasonry, like the street paving discovered on the hill of Hissarlik. Shakspere, like Homer,\ndoes not fail to tell us that one tower was higher than the others (Act I. Sc. 2), but beyond\nthis he says nothing that would illustrate the work classically or mediaevally. The dramatist,\nhowever, marks distinctly the separation between the town of Troy and Ilium—in other\nwords, between the town and the palace of Priam or the Acropolis, the citadel or stronghold,\nor Pergamus, wherein stood not only the King's house, but the temple and the store houses,\nand where also the eastern tower stood, from which the battle-field was overlooked by\nHecuba and Helen. The exaggerations that invariably accumulate round the nucleus of fact\nin all stories of heroic deeds must be allowed for when we come to estimate the evidence\nas to the siaie and arrangement of Troy. If the city really stood on the hill of Hissarlik, and\nDr. Schliemann be right in his conclusions (1) then the city was no larger than many mediaeval\nfortresses with which we are familiar. If, on the other hand, the works exhumed on Hissarlik\nrepresent only the extent of the citadel or Pergamus of Troy, then the boundaries of the city\nitself may be extended on one side (the south) of it, like an Assyrian city, to almost any distance\ncompatible with the probabilities of the case. So, then, for Priam's house we have to choose\nbetween a palace not much better than a pele or border tower, capable of accommodating\nabout twenty people at the utmost, and one arranged after the plan of those at Nimroud\n(B.C. 900), Khorsabad, or Koyunjik. If it be the first, then Homer's language is high faluting\nfrom beginning to end; but if the last be the right view to take of it, then the poet's\ndescriptions may very fairly be examined in any endeavour we may make to realise the\narchitecture of Troy for the scenic purposes of the play of Troilus and Cressida.^\n\nSHAKESPEARE'S\nGREEK PLAYS.\n\nThe choice of\nthe d ate. <£?\nT r o i 1 u s &\nCressida ♦\nThe city\nof T 1 oy .\n\n(I) See Architect, April 17, 1875)."}, {"page_pdf": 12, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.12", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nIn the sixth book of the \" Iliad \" we are told that Priam's stately courts were raised\non columns of stupendous frame, that—\nO' er these a range of marble structure runs\nThe rich pavilions of his fifty sons,\nand that opposite to the sons' lodgings were those devoted to the daughters and their\nhusbands. In the \" Odyssey \" one of the palaces has a high hall with walls of flaming\nbrass, a blue cornice, doors framed of gold set with silver pilasters and lintel; each side\nthe doorway is a dog wrought in silver and gold, and from the threshold skirting the walls\nare thrones or couches reaching—\nin lustrous long array,\nOn to the far room, where the women met,\nWith many a rich robe strewn and woven coverlet.\nThis hall, whose roof=tree is supported on pillars, is lighted for the night feasts by torches\nplaced in the outstretched hands of golden figures of youths raised on pedestals. And in\nthe corridor also are seats or couches against the walls on which beds are made up for\nthe stranger and the guest. Coming to details, we find that the doors are made folding,\nlike the Japanese doors of the present day, and that they are fastened by bolts passing\nthrough silver rings. Bronze and ivory are combined with the metals already mentioned\nin the decoration of the pillars and walls, against which hang various armour and musical\ninstruments. There is, too, one kind of ornament which is constantly recurring, for we\nread of silver and gold studding as a very common mode of decoration applied somewhat\nindiscriminately to costume as well as to furniture and buildings. The stairs leading to the\nupper chambers appear generally to start from near the entrance to the hall, and in the\nlarger palaces it would seem that the buildings were arranged in separate blocks round a\ncommon quadrangle or court.\n& The house of Pandarus would have the usual arrangement of outer court, vestibule,\npillared hall, and stairs leading to the private apartments above. &\nA street in Troy would possess many of these houses more or less capacious, some\nseparated from one another by orchards and gardens, and some doubtless jostled by many\nrough«built tenements of a different class of inhabitants—assuming, that is, that Troy meant\nsomething more than the walled enclosure on the hill of Hissarlik mapped out for us in\nDr. Schliemann's book. For the mise en scene of the drama before us I am disposed to\naccept the grander view, and to take Homer's colouring of things as tolerably literal, after\nallowing for poetical license.\ncostume of Greeks and Trojans in that wide=margined period of time that I selected\nfor the action of Troilus and Cressida, i.e., 1184=900 B.C., is by no means\nready to our hands. We cannot refer as we did for the Merchant of Venice and other\nplays, where the period of the action was taken to be in the author's own time, to illustrated\nguide books of unquestionable authority, like Vecellio, following which it was impossible to\ngo wrong unless by malice aforethought or the crassest ignorance. Nor can we refer, as I\ndid for Cymbeline, to collections of armour, &c., such as that interesting Keltic group\nwhich exists in the British Museum. The earliest Greek vases in the British Museum and\nthe pinax or plate (No. 16 Table, Case B), crude and early as they may be, are yet too late\nfor us by four or five centuries. There may have been, there probably was, far less\nchangeableness in the fashions of building, dress, furniture, ornaments, and implements in\nthose heroic days than in any subsequent period. Three or four centuries, two thousand\nthree hundred years ago, witnessed, I have little doubt, less change in costume than did\nany score of years in the Middle Ages. Still, we must not think, I imagine, as is too often\nsupposed from the way in which Greek things are usually spoken of, that Hellenic art sprung\ninto being fully grown and completely equipped like the blue«eyed maid, Pallas Athene.\nStyles of art, whether in the shape of architecture or costume, sculpture or painting, or\nanything else, have always been a=growing, passing through the usual process of all growth-\nDevelopment, Fulness, Decline. At certain periods of the world's history, and in certain\ncountries, this growth was exceedingly slow, in others exceedingly fast. In the English\nhistorical plays we had to do with the fast. We have now to deal with the slow. Therefore,\nalthough the earliest figure=painted vessels in the First Vase-Room of the Museum may not\ntake us further back than 500 years before Christ, and the sculptures from the Temple at\n\nThe 'Odyssey'\nA Street in Troy\nThe Gre e k &\nTrojan costume."}, {"page_pdf": 13, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.13", "texte": "may lead us certainly to no earlier period, yet by taking these as our point de\ndepa.it, and so going up the stream of time until we reach the north-west palace at Nimroud,\nc. 900 B.C., we may, by the collateral assistance of Homer and Hesiod, together with such\nevidence as may be derived from Keltic remains, be enabled to arrive at something like a\npossible, if not probable, conclusion as to the costume of Achaeans and Trojans in the Heroic\ndays. Nor must we forget the influence of the Phoenicians or Canaanites through the art\nmanufactures of their great trading cities, Tyre and Sidon, when Hiram was King of Tyre\n(1,000 B.C.). &\nAnd now let us first of all turn to Hesiod and Homer. From these we gather, to begin with,\nsuch a wealth of mere material that, quite apart from art, indicates no mean degree of\ncivilisation. Among these we find mention made of gems, gold, silver, brass, tin, steel, iron,\nelectrum (\" Odyssey \"), ivory, fine linen, costly furs, skins, carpets, soft wool, horsehair, and\ncostly scents. The art processes employed were studding, repousse work (1), chasing,\nembroidery, and weaving. If a richly wrought silver urn or goblet was wanted, it was\nsought in the workshop of some Sidonian artist; if the fine products of the loom had to be\nmade all glorious with needlework, it was to the subtle fingers of Sidonian maids they were\nentrusted; and if a lovely colour was desired, it was to Tyre the home manufacturer was\nindebted for its dye. And here we cannot fail to be reminded of a singer who was possibly\na contemporary of Homer's, or at any rate of his father's: — \"All thy garments smell of\nmyrrh, and aloes, and cassia, out of the ivory palaces whereby they have made thee glad....\nUpon thy right hand did stand the Queen in gold of ophir.... And the daughter of Tyre shall\nbe there with a gift.... The King's daughter is all glorious within; her clothing is of wrought\ngold. She shall be brought unto the King in raiment of needlework \". Of colours a natural\nyellowish or toned white (milk white and not snow white) was the most usual for ali woollen\ngarments; the fine linen vests were also mostly white: red, purple, and various yellows\nranging from pale saffron to a green-gold were likewise used, but purple includes blue\n(violet-blue) as well as the royal colour, or purple proper, where the red takes its full\nshare of partnership, and red means a scarlet, or brilliant crimson rather than vermilion:\n\\\n—\" My lips are like a thread of scarlet\" shows by the natural simile the quality of the\n\" scarlet\" here intended by Solomon. As to the several articles of dress, the \" Iliad \"\nsupplies us with minute particulars, and from these we learn that the full armour, which\nwas mostly made of brass, consisted of: —1, the helmet; 2, the thorax or cuirasse over a\nlinen vest; 3, the cuissots or thigh pieces, and 4, the greaves: no mention is anywhere made\nof the leather, felt or metal straps which we find depending from the lower edge of the\ncuirasse in the armed figures on vases of a much later period. Of belts we have three kinds,\nthe zone or waist belt, the sword belt, and the shield belt. Besides the sword and shield\nwe have the spear, the bow, and the iron-studded mace, which last is very suggestive of\nthe morning-star or holy water-sprinkler of mediaeval armouries. The men wore the hair\nlong, and their skin was brown. The costume of the fair sex seems to have depended for\nits effect not so much on quantity as on quality, and more than anything else on the\nproportion, articulation, and undulation of the splendour of human form. The chiton or\ntunic, the broad zone, the diplax, pallium, or mantle sweeping the ground, the peplos or\nveil, the sandals, and the head dress formed a complete toilette, Among their personal\nornaments were ear-rings, diadems or frontals, chains, brooches, and necklaces. £?\nAnd now turn to the actors in this drama. Taking the Greeks first, we have Achilles\npresented to us as golden-haired; his sceptre is starred with gold studs; his greaves are of\nductile tin; his cuissots are of silver; his cuirasse of gold; his fourfold helm of sculptured\n(repousse) brass with a golden crest of horsehair gilded; his shield of gold, silver, brass,\nand tin divided by concentric rings, each divided into four compartments; his sword is of\nbronze starred with gems; and his baldrick is embroidered in various colours. Agamemnon\nwears, when unarmed, a fine linen vest, a purple mantle, embroidered sandals, and a lion's\nskin at night over his shoulders. When armed he wears a four-fold helm with horsehair\nplume; greaves with silver buckles; a wonderful cuirasse composed of ten rows of azure\nsteel, twenty of tin, and twelve of gold, with three dragons rising to the neck; a baldrick\nradiant with embroidery; a sword with gold hilt, silver sheath, and gold hangers; a broad\nbelt with silver plates; and a shield of ten concentric bands or zones of brass, with twenty\n\nSHAKESPEARE'S\nGREEK PLAYS.\n\nII c s i o d Ac\nHomer .\nThe Armour.\nThe w omen' &\ndress . &\nAehi1 1 e s *\nAg a m e mil on *\n\n(1) The Perseus in the shield of Hercules is poetical repousse."}, {"page_pdf": 14, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.14", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nbosses and a Gorgon in the midst. Menelaus wears a leopard's skin at night. Old Nestor's\nmantle is of warm, soft wool, doubly lined; his shield is of gold, and he wears a scarf of\ndivers colours. Diomed's armour is of ordinary brass or bronze, until he exchanges it for\nthe gold-inlaid equipments of Glaucus. Ajax is clothed in steel, and carries a terrific mace\ncrowned with studs of iron, whilst Patroclus wears brass, silver buckled, a flaming cuirasse\nof a thousand dyes, a sword studded with gold, and a sword-belt like a starry zone. On\nthe Trojan side we see Hektor with a shield teaching from neck to ankle; a plume or\ncrest of white and black horsehair (i); a brass cuirasse and spears about sixteen feet long.\nParis, in curling golden tresses, comes before us in gilded armour, buckled with silver\nbuckles; his thigh-pieces are wrought with flowers; his helmet is fastened by a strap of\ntough bull-hide; a leopard's skin he wears as a cloak, and his bow hangs across his shoulders.\nOf the fair Helen Homer says but little; he infers that her fairness bewitched everyone\nwho saw her, the old white-headed men sitting in the gate, as well as the middleaged\nand the young. We see her at her tapestry, wherein with golden thread she is picturing\nthe strife of war and bitter passion which has been roused by her unbounded beauty and\nher fatal frailty. We see her pass out of the palace, attended by her two handmaidens,\nher face and arms covered by a thin white peplos, her soft, white chiton tucked up through\nthe gold zone beneath her swelling bosom, and her embroidered diplax fastened with clasps\nof gold, whilst both peplos and diplax fall in multitudinous folds until they lose themselves\nin a train of rippling waves. The picture of Andromache in the twenty-second book shows\nus the noble wife far in the close recesses of her house withdrawn, weaving a web\nall purple, double woof,\nWith varied flowers in rich embroidery;\nand mindful of the father of her children, she is giving orders to the servants to prepare\nfor his return. But Hektor was dead, and when she learnt this,\nBackward she fell, and gasped her spirit away,\nFar off were flung th'adornments of her head —\nThe net, the fillet, and the woven bands;\nThe nuptial veil by golden Venus given,\nupon her bridal day.\nSuch, then, is the evidence we gather from Homer as to the costume of Troilus and Cressida;\nHesiod, in so far as he refers to costume, supports it. Now, therefore, let us examine the\ntestimony offered by the arts of painting and sculpture. We will begin with the shield.\nThere can be no manner of doubt that the shield, as described by the poets just mentioned,\nwas of far greater diameter than any we see modelled in the /Egina sculptures, or painted\non plate or vase. These are scarcely more than thirty inches in diameter, or six inches\nmore than the largest Keltic shield, but the Homeric shield must have had a diameter nearly\nif not quite double this unless our Classic heroes were very short men. Where, then, shall\nwe most easily find a genuine illustration of this gigantic kind of shield? This question,\nthanks to the labours of Mr Layard, is readily answered, for on a slab from the Palace at\nKoyunjik (c. 700 B.C.), now preserved in the Lower Assyrian Room in Great Russell Street,\nis sculptured in low-relief a row of shields of the exact Homeric dimension — i.e. reaching\nfrom neck to ankle, and fully illustrating the convex form, the outer rim, and the central\nboss. Most of these large shields were doubtless made of bull's hides, and only coated with\nmetal plates. This method of construction, i.e. overlaying a leather foundation with thin\nmetal, was probably also adopted in the manufacture of the earlier helmets. Among early\nprotections for the head occur hats or helmets, which appear to have been made of skin,\nleather, or felt. On a black obelisk in the British Museum, dated S50 B.C., we see on the\nattendants a conical cap evidently of soft material, the point falling back, and the margin\nturned up like a band; in other words, a Phrygian cap wrong side on. So also the skull-\ncap form seen in the early Etruskan, Macedonian, and Cyprian helmets, and the peculiar\nhorned shapes seen in our Keltic collection, at Falaise, and in the early representations of\nHerakles are very suggestive of a skin or leather prototype. But the dramatis petsonse\nin Troilus and Cressida must have something more than this. Both Greek and Trojan must\nhave \" bronze bound peaked helms \" and lofty crests, with nodding plumes of horsehair.\nNow in Table Case B, in the First Vase-Room of the Museum is a plate or pinax (No. 19) on\n\nH c h i o r . jz?\nParis,\nHelen, &\nAndromache,\nThe Shields,\nThe Helmets,\n\n(i) On many vases we find crests partl-coloured."}, {"page_pdf": 15, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.15", "texte": "which is represented a combat between Menelaos and Hektor over the body of Euphorbos.\nThe date of the work is probably four or even five centuries too late for us, and I only\nmention it to call attention to the form of the crest, which is nothing more than the curling\npoint of the Phrygian cap slightly raised and translated into metal, and to the curved back\nof which the horsehair is fastened. Now with an accurate drawing of this Greek helmet in\nour hands, let us go down again to the Koyunjik slabs, where we found the shields, and\nwe can see in the helmets of the Assyrian warriors precisely the same arrangement. It is\ntrue that there is nothing in the sculptures of the Nineveh Palace indicating any guard or\ndefence for the face, but there are ear=pieces—in some instances they are small, in others\nlarge; in some homogeneous, in others attached, as in the Keltic example illustrated in the\nArchseolegischen Analectem These crested helms are always or nearly so;\nfor the early conical or peaked helm is crestless, although supplied with the ear guards,\nso necessary to a smooth cIose=fitting casque. Another marked distinction between the\ndrawing on the Greek pinax and the carving on the Assyrian slab is wholly in favour of\nthe latter as an illustration of Homer. In the Greek example the hair is worn short, and\nthe neck is protected by projecting wings or curtains forming part of the helm—an\narrangement familiar to us in the form of the 15th century salade, but on the slab the hair\nis shown thick, long, and curly, as the natural defence for the neck and as worn by the\nHomeric heroes. &?&&&?\nThe usual surface decoration of the helm appears to have consisted of one or more concentric\nbands with semicircular frontals. These borders once created, we can quite understand\nthat the Sidonian artists skilful to work in gold and in silver, in brass and in iron, and to\ngrave any manner of graving, would not be slow to avail themselves of the field thus offered\nfor the exercise of their art. The Homeric cuirasse is always more or less flaming, i.e.,\nshimmering with light and colour—colour partly in itself and partly reflected. Agamemnon's\ncoat, as we have already seen, contains forty=two rows of three different metals, that of\nPatroclus flames with a thousand dyes, that of Achilles outshines the fire, and so on. I can\nhardly imagine that such descriptions as these can refer to any other style of cuirasse than\nthat formed by bands, scales, or plates of metal (some, perhaps, enamelled) fastened to a\nleather or skin foundation, something, that is to say, between the flexible horn cuirasse or\ncoat of mail and the metal plate armour that was moulded to fit every muscle of the body.\nThis kind of cuirasse would be supported by shou!der=straps or braces, fastened to the\nbreast and back pieces by studs, or tied with strips of hide. It was probably Agamemnon's\nleathern braces that were decorated with the crawling dragons or griffins. That this leathern\njerkin, if i may be allowed the unclasslcal expression, descended lower than the abdomen\nis not likely, otherwise there would have been no need for the cuissots or thigh plates.\nNor does it seem that it could have been as short as the later form of lorica or thorax, for\nif so there was no need for the broad waist=belt or zone. Now if we suppose that the\ncuirasse was in two pieces, one for the front and one for the back, it follows that without\nthe zone the sides would be exposed, thus the waist=>belt becomes a very important feature,\nand we can readily understand how the word would be used in the sense of to arm\none's-self. The cuissots were buckled behind the thighs, and the greaves were sometimes\nfastened in the same manner, although the natural spring of the metal (when they were\nformed of metal only) would be sufficient to hold them in place. & &\nFor the women's armlets, bracelets, necklaces, and earrings (1); for the woven patterns,\nand the embroidered borders of the square mantle and the chiton, we cannot be far wrong\nif we seek in the sculptures of the reign of Assur»nazir=«pal (c. B.C. 880). Necklaces of beads\nand of numerous small pendants might be used, if preferred, instead of the bolder medallion\nnecklace. The twisted snake-like form as well as the single medallion may be used for\nbracelets. The hair was rolled up and confined within a caul or net, made of coloured or\ngold thread, and a fillet not unusually of thin fine gold bound the base of the net. This\nfillet, in the cases of very important ladies, might expand into a frontal or diadem of thin\ngold, bent round the forehead from ear to ear and decorated with very delicate repousse work.\n& Of the furniture for this play the Ninevite sculptures supply sufficient material, if taken\nin conjunction with the poet's language, to enable an intelligent stage director to furnish\nthe interior scenes, if not with accuracy, at least without any display of inconsistency. <£?\n\nSHAKESPEARE'S\nGREEK PLAYS.\n\nDecoration of\nthe helm .\nThe cuirasse.\nThe women's\nadornments.\n\n(1) Hera's earrings have three drops, formed like mulberries."}, {"page_pdf": 16, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.16", "texte": "A NOTE ON AN OLD ENGRAVING\nby Allen Carrie.\nJ have just come across this charming Italian wood engraving, and because I believe it will\nbe of great interest to the modern stage director, and will appeal to his passion for\ncorrect detail, I hasten to bring it before him. It is made for the modern stage director.\nThe artist evidently knew the modern stage director was coming. Of course it is utterly\nincomplete in execution, this wood cut: technique has not been the designer's aim: realistic\ndetail, that is what has absorbed him, and curiously enough just the very detail by which\nthe stage director knows his public is charmed. <£?\n& Here is the real horse tethered to the real wall: the real dog and the real pigeon and\nthe real pigeon house, just as described by Miss Ellen Terry in her Memoirs, where she\nalludes to one of Charles Reade's productions.\n& 1 think that it never yet occurred to any stage manager to ha>e real bees; yet of what\nvalue would be the presence of the man and the woman, of the horse and the dog and the\nold lady spinning in this design without the bees? Therefore what would a production\nin which are a man and a woman, a horse, a dog and an old lady spinning be without\nthis additional detail of bees? What an opportunity for realism, for accuracy I Think what\npossibilities it opens up! Think of the laughs to be extracted from a bee. If in a\nShakespearean play the leading man were continually being stung on the nose by a bee,\nhow it would punctuate the poetry! And really, when you come to think of it, what is there\nagainst Malvolio being chased by bees? I suppose bees were of the period? I am not so\nsure that a modern stage manager would not be justified in going so far as to announce\non the posters, Tonight: Shakespeare's \" Twelfth Night, or the Pigeons and the Bees \" &\n\nCorrect detail.\nThe Bees •"}, {"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.17", "texte": "por my part I cannot understand those people who object to stage directions being written\nby the dramatist. Mr Bernard Shaw's stage directions, rather than being too profuse,\nare not profuse enough. He beats about the bush: he does not really close with the\ndifficulty at all. Some day some one will improve upon Mr Bernard Shaw in this respect,\nand then we may hope for really complete directions such as the following. &\n\" The bees are now heard buzzing about the hive. It seems for one moment as\n\" if the queen bee were dead, but the next moment the air is cleared of all apprehension\n\" and becomes thick with bees. They circle twice around the forest and alight upon\n\"an ash tree which may be discerned three miles distant. Care should be taken by the\n\" manipulator to distinguish between the working bees and the drones (i).\n« At the same instant the pigeons should leave the loft which is on the right hand side\n\" of the stage, the reflection of which must be just visible in the pool of water which covers\n\" the front of the stage. The pigeons must be seen in the mirror of the pool flying towards\nthe east, they themselves being invisible (2).\n\" The sound of a horse pawing the ground must now be heard, but the noise is quickly\n\" drowned by the crowing of a cock. As imitations of the crowing of a cock proceed at times\n\" from the audience, the manager must be very careful to procure a genuine cock so that\n\" there shall be no doubt as to the authenticity of the crowing (3). A butterfly should\n\" here flit across the stage (4). Mary is then seen coming out of the house on the left. The\n\" first few words she utters denote her temperament. \" Lamb for dinner, lamb for breakfast,\n\" Iamb for lunch. \" It must be at once evident that she is a pronounced vegetarian and a\n\" suffragette.\n& Truly, the study of the stage is a very pleasant one for the playwright of today, and\nthe more so that, with the happy liberty allowed him by Realism, he is without difficulty\nenabled to offer us so many different sensations.\n\nA NOTE ON AN\nOLD ENGR WING\n\nSome stage\ndirections.\n(1) Vide Andrew Knight on \" Cause of variation in Bees\n(2) For the behaviour of Pigeons vide Darwin, \" Origin of Species \" and Dr Gould on \" Distribution of the genera\nof Birds\n(3) For the conduct of a cock vide Captain Harraden's treatise on \" Cocks that crow in the Night \".\n(+) See Mr Bates' Treatise on \" Mimetic Butterflies.\n\nBEAUTY IN ART - FRIEDRICH NIETZSCHE\nFrom the translation of Johanna Volz.\nsee with new eyes.—Suppose that the term \" beauty in art \" always implied the\nimitation of all that is happy—and this I consider the truth—corresponding to the idea\nwhich an age, a people, a great self-constitutive individual form of him who is happy: what\nthen does the so°called realism of the present artists disclose with regard to the happiness\nof our age? It is doubtless its style of beauty which we, in our days, understand and\nenjoy best of all. We are consequently led to believe that our present, peculiar, happiness\nis based on the real, on most acute senses and the true conception of the real; hence not\non reality, but on the knowledge of reality. The influence of science has already gained\nso much in depth and extent, that the artists of our century have quite unconsciously\nbecome the glorifiers of the scientific felicities per se."}, {"page_pdf": 18, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.18", "texte": "SHAKESPEARE'S PLAYS.\nby Gordon Craig.\n\nn a little book which I published in 1905 I ventured to agree\nwith those who hold the opinion that Shakespeare's plays\nwere written for the reader and not for the stage. It seems\nmany hold this opinion. Yet it was a satisfaction to me to\ncome later across the following and other sentences in\nGoethe's writings. & &\nsg? 44 Shakespeare belongs by rights to the history of poetry;\n44 in the history of the theatre he only appears casually \"\n44 Shakespeare's whole method of proceeding is one which\n44 encounters a certain amount of impracticability upon the\n44 actual stage \". & jg? & & &\n44 The very contractedness of the stage forces him to\ncircumscribe himself.\" £?\nGoethe comes to this conclusion, not at the beginning of his life but at the end of it,\nafter his experience in the theatre has shown him that literature and the stage are, and must\nbe, independent one of the other. I still remain of the same opinion that Shakespeare's\nplays are not for representation, more expecially because I am myself now working on several\nShakespearean representations and therefore have occasion for passing in review the many\ndifferent 44 editions \" as they are called, of Shakespeare, especially the stage editions,\nand 1 am struck by one fact, and it is this: that the people who hold that Shakespeare was\na master of theatrical art cut away from these plays lines, passages, nay, whole scenes.....\nthese words, passages and scenes which, they say, were written for the stage. &\n&To say a thing is perfect and then to mutilate it is most peculiar. If a manager wishes\nto cut a play saying that it will be better understood by the public if he does so, it is\npermissable provided he does not at the same time say that Shakespeare was a perfect master\nof dramatic art. Drama is for the people if ever an art was for the people, and if Shakespeare\nhas not made himself clear to the people of all time, the actor manager is not going to\nimprove matters by cutting out large portions of the text.\nIn 44 Hamlet \" it is usual for that long passage commencing 44 Now all occasions do\ninform against me 44 to be removed by the manager, who says that it does not 44 help the\nplay.\" Now this is a most extraordinary state of affairs, that managers should be\npermitted to say what does or does not44 help the plays \"of Shakespeare, after Shakespeare\nhas himself decided. Other passages in the play are removed because the managers hold that\nthey are indelicate or they hold that the audience would consider them indelicate. Cut the\npassage between Ophelia and Hamlet in Act III Scene 2 when he is lying at her feet and\nyou rob the character of Hamlet of very much of its force. Ophelia instead of being a\nwoman of intelligence, becomes an early Victorian debutante, and Hamlet, instead of being a\nman of his time and suggesting a period which was more than a period of manners,\nbecomes a land of preaching curate. & &\nOf course the Censor would object to this and other passages in Shakespeare and he\nwould be perfectly right, for the plays were not written for the stage; they were written\nto be read. If you wish to act them act them in their entirety or do not act them at all (i).\nIt is as ridiculous to say that the omission of a small passage is not going to harm such a\nwork as to say that the omission of so small a portion of the body as the eye does not\ninjure the whole.\nThis liberty with great plays is no sign of civilization; it is barbarous in the extreme.\nAnother argument advanced for acting in this way is that the performance must not last\nlonger than a certain time. Time has nothing to do with a performance. If it is good we\ndo not mind how long it takes: if it is bad it must be cut short, and therefore to advocate\na short time is to imply a fear on the part of the manager that the play is going to be\nbadly represented. Can one have too much of a good thing ? Then, too, it is quite possible\n(1) \" .... I am very glad to find that I can endorse Tieck's opinion when he shows himself to be a zealous upholder\n44 of the unity, indivisibility, and unassailableness of Shakespeare's plays, and insists on their being performed in their\n44 entirety and without revision or modification of any kind. \" Goethe.\n\n*\nGoethe .\nAn\nIncons is ten cy.\nH a m 1 e t . &\nThe Censor.\nThe 44 Time\n1 i m i t }} &"}, {"page_pdf": 19, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.19", "texte": "to perform a play of Shakespeare in it entirety in an evening provided the appliance for\nshifting the scenery is not so absurdly elaborate that it takes twenty minutes to change\neach, act and provided that the actors do not pause too long over each syllable but exercise\ntheir brains to think a trifle faster. It is this slow delivery of Shakespeare's lines which\nhas made Shakespeare a bore to so many people. Here in the plays of Shakespeare we\nhave passionate scenes of an amazing description, far more amazing than in the plays of\nthe south, and yet we drawl them and crawl them and are surprised when a Grasso\ncomes to England and shows us how we should speak, act and reveal the suddenness and\nmadness of passion. We seem to forget this fact, that passion is a kind of madness. We\nbring to it a logical attitude and we deliver it with the voice of the judge or the\nmathemetician. It seems to have something to do with the totting up of accounts; thus\nwith us it is a shopman, not Othello, who is throttling Desdemona. The emotional actors\nin England ought not to be content with themselves for not waking up and sweeping all\nthese too deliberate and stodgy actors off the stage and out of the theatres\nWould the plays of Shakespeare be then interpreted as they should be ? No, not even\nthen. Not if the finest and most passionate actors in the world were to come together\nand attempt to perform Hamlet could the right representation of Hamlet be given, for\nto represent \" Hamlet \" rightly is an impossibility. j® & *& &\n\nSHAKESPEARE'S\nPLAYS.\n\nPassion a kind\nof Madness.\n\nGIULIO PIRHO"}, {"page_pdf": 20, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.20", "texte": "BOOK REVIEWS\n\nIMPRESSIONS OF HENRY IRVING,\nby Walter Herries Pollock. ILongmans,\nGreen & Co. Eondon & & &\nImpressions of Henry Irving make up\nthe best book which has been written\nabout him since his death. The book has a\nshort well-written preface by Mr H. B. Irving\nin which he states that his father had intended\nto have written his Reminiscences, and he\nadds, \" No doubt that in these reminiscences\n44 Henry Irving would have given to those\n44 who came after him the fruits of his\n44 experience, the lessons learned, the ideas\n\" formed in the course of a career of strenuous\n44 endeavour and singular achievement. \"\nIt appears that Henry Irving has not left\nany written works from which we may study\nexcept the small book which contains the\nlectures given at Oxford, Edinburgh, and\nother cities, so that any book which records\nconversations with Irving or which attempts\nto bring portions of his performances before\nour eyes is very welcome to admirers of the\nactor.\nMr Pollock's book contains very many\nsuggestive passages which help to remind us\nof those performances which we have seen. By\nthe use of his well-chosen words he recalls\nto us very vividly the dusky brown stage of\nthe theatre, the simple and unadorned\ndressing room: we hear again Irving's voice\nand we see once more his action and expression\nthrough Mr Pollock's art.\nWill those of the future generation be able\nto see the same? We doubt this very much,\nand we doubt whether the description of\nwhat an actor has done upon the stage and\nhow he did it is of any assistance whatever\nto actors of the future; and for this reason:...\nWe come across the passage about Irving's\nIago, in which the author speaks of the\nperformances of Othello and Iago, and as we\nhad never seen either of these performances\nwe were very much interested in reading\nwhat he had to say. But we cannot see\nIrving as Iago, we cannot picture him as\nOthello merely by reading this book, and we\ndo not believe that however faithful the\nrecord might be that we should be able to\npicture him: therefore we should lose the\nessence of the thing. & &\nWe are thus reminded of the worihlessness\nof tradition in an art which has no fixed\nrules. We do not attack the idea of tradition in\nart: we only hold that in the record of an\nactor's style it is worthless.\nThis does not, however, make Mr Pollock's\nbook a whit less interesting, and to those\nwho saw Irving it is very good to see him\nagain through the medium of these pages.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & &\n\" Impressions of Henry Irving, by Walter Herries\nPollock. \" Longmans, Green & Co. London. \" 77ie\nBohemian Jinks. A Treatise by Porter Garnett. \"\nBohemian Club, San Francisco. ,, // Nuovo Giornale\nIllustrato Florence. O/r \", London.\n\" Le Timoin \", Paris. \" La Balance \", Moscow.\n\" Paris American \", Paris. \" The Fra \", East\nAurora. New York. \" T/re Bibelot Portland, Maine\nU. S. A. \" The Papyrus \", East Orange., New Jersey\nU. S. A. \" Current Literature \" New York. *£?\n\" 77ie Studio \", London. \" The New York Dramatic\nMirror \", New York. \" Ri vista di Roma \", Rome.\n& \" Argus Helslngfors. & \" Die Schaubuhne\nBerlin. \" // Teatro Illustrato \" Milan.\n\nFOREIGN NOTES\n\nfollowing questions were recently put to\ncorrespondents of this journal in the large\ncentres of Europe.\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution?\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\n& We print below a reply from London.\nReplies from Holland and Warsaw will\nappear in the October number of \" The\nMask\nAsa whole the work, whether of individual\nor of mass, in the Theatres of London\ndoes not show hasty conception and careless\nperformance. As a whole it has appeared to\nme extremely deliberate in conception and\ncareful in performance, in word, conscien-\ntious. But the deliberation and the care\nappear to me to be expended mainly in\npropagating the Conventional. This may look\nlike a plea for the unconventional. In a sense\nit is. But by a unconventional \" I do not intend\nthe Unpleasant, whether of Suggestion or of\nRealism. So many people, authors especially,\nseem to think that it is only possible to be\nunconventional by representing the unplea-\nsant, the ugly; and cannot see that Beauty\nitself is always unconventional. &\nThe London stage does not suffer much from\n\"hasty conception and careless performance\";\nnor even so much from conventionalism as"}, {"page_pdf": 21, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.21", "texte": "from commercialism. An ideal theatre might\nbe one owned by a millionaire who were also\na man of artistic genius and a Great\nPersonality; a millionaire who were also a\nWagner, able to conceive a drama (or comedy)\nto conceive the medium of its representation\nand to infuse his own personality into every\nliving or inert portion of that chosen medium,\nwhether living mimes and musicians or inert\nmaterial scenic accessories. But the London\ntheatre is run as a rule by that most potent\nforce in modern life, .... Various Considera-\ntions! The man who owns a theatre here, if\nhe means to run it himself (if wise he prefers\nto let it, cash deposit in advance) has to find\na play, and the choice of this depends on....\nvarious considerations, chief of which perhaps\nis his own qualifications for judging, not what\nis a good play, but what will please the\nPublic. Shall the play be by an author of\nestablished reputation, by one who is esta-\nblishing a reputation, or by one who has it\nyet to make? Prices vary. The former would\nprobably be \" a safe draw \", but the price\nwill be high. The latter may be cheap, but\nthe unknown author is always \"a gamble\":\nask Publishers! If the man who is running\nthe theatre is also an actor-manager there\nare other \" various considerations \". fie has fo\ncourse to consider his own or his \" backer's\"\nfinances. On that consideration depends to\nsome extent the cost of an auther, and on\nanother, not less important, depends the\nchoice of a play; for,as the actor-manager is\nhimself a \" draw \" it depends very largely on\nhis own \" drawing \" powers whether he shall\npatronise the work of an unknown and\ninexpensive author, or join forces with another\nwell known name and have a play by a drama-\ntist of established fame. The casting of the play\nis in either case another consideration, as to\nquality of players, their suitability, their cost\nand \" drawing \" power, if any.... as compared\nwith the actor-manager: and it is essential\nthat he shall be the central figure of the play.\nThe expense and nature of the mounting is\nanother consideration; and there are a thou-\nsand and one others. How then could the work\nin the London theatres be said to be \"hasty\nIn conception and careless in performance\"!\nIt would seem to be impossible to be hasty\nin any matter so hedged around by various\nconsiderations: and as for carelessness in\nperformance, well, if there were any of that,\npresumably the actors would soon cease to\nbe engaged! It would seem so. The man who\nas actor-manager is running a theatre in\nLondon for his own profit is to be sympathised\nwith, for, like a man on a treadmill, he must\nkeep going on, at any cost and in face of\nany chance of failure. He has started out to\ncater for an uncertain public and must\nproduce new plays and they must please (i).\nBut the worst trouble is that if they are to\nplease they must be not too unlike what\nhas already pleased. They must, though new,\nbe still, as a rule, conventional. £?\nIt is the same too with the actors. To achieve\na success in one type of character is almost\nto be doomed to the perpetual representation\nof such types, at least until the uncertain\npublic turn to some new favourite. Then if\nthe actor essay another role.... though possibly\nwith equal talent.... it is forthwith suggested\nthat he had better stick to the parts he plays\nso well; which is acceptable advice only while\nsuch parts continue to be written.\nSo what with one thing and another,... and\nmaking due allowance for occasional flukes....\nall things seem to conspire to the propogation\nof conventionality, and the largest factor is\nprobably commercialism, the craze of all\n\" artists \" for publicity and large profits; but\nas in studying past records of the Drama,\nespecially in the earlier half of last century,\nI have come across various other outcries on\nthe mortification of the British Drama, I have\nno doubt that things might be worse, since\nthe complaint is no wise new; and with the\nvastly greater number of theatres there are\nnow, the increasing competition, and the\nindifference of the public to most things that\nshould rouse them from indifference, it is\namazing that the standard of work in the\nLondon theatres is as good as it is.\nCertainly as a whole it might yet be higher.\nThat it can hardly be called hasty in concept\ntion and careless in performance is fairly\nobvious to any who know anything of the\nvarious considerations affecting the British\nDrama. But at times it does seem not so much\n\" hasty \" as hazy in conception, and might\noccasionally show yet greater care in perfor-\nmance. On the other hand so much care is\nexpended on a big production, say a\nShakespearean revival or some spectacular\nromantic play, that there is a tendency to\nover-elaboration of unnecessary detail, with\nthe result that the work is sometimes \"fussy\".\nWithout necessarily requiring a return to\n\" three boards, two trestles and a Passion\none could wish to note a move towards\nsimplification of stage methods, and common-\nsense economy compatible with artistic aims.\nIt is time, however, to deal with your second\nquestion, regarding the Public.\nReally, the Public is so large and complex a\nbody I should be sorry to think I could in\nany way be answerable for its opinion. If\none could credit the current reports as to the\nbadness of the theatrical season it would seem\neither that the public is not contented with\nwhat it receives in the theatre, or that some\ncounter attractions, can the Stadium of the\nFranco British Exhibition be one?.... are too\npowerful. In the main the general public is,\nI think, quite content with what it receives\nin the theatre, though perhaps we might\nexcept the programme, for which the public\ncontinues in most theatres to pay sixpence\nfor the pleasure of reading advertisements of\nwhisky which is obtainable at an equally high\nprice, I understand, at most bars. But as far\n\n(i) There could easily be a happier state of things, but\nconsiderations of space preclude my discussing the remedy\nnow."}, {"page_pdf": 22, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.22", "texte": "as the dramatic fare is concerned the public\nappears to be content with what it receives,\nthough my own opinion is it pays rather too\nhigh a price. For one thing the public nowadays\nwill take anything that is sufficiently\nadvertised. But there is not only one public,\nor three or four sections, but a dozen or more,\nand several overlap. There is the public that\ngoes to see Beerbohm Tree, another that\ngoes to see Cyril Maude; another for Lewis\nWaller, another for melodrama at the Lyceum;\nanother for Opera; another for 44 Musical\nComedy\"; another for the Music Halls,....\nwhere, by the way, one still gets the best\nvalue for one's money in sheer individual\ntalent; another for the amateur {and pro«\nfessional) entertainments provided on Sunday\nby Socialist clubs; oh! and another lor the\nworks of Mr George Bernard Shaw. The\npublic for this however, would seldom be\nfound to overlap with that which goes to\n44 Musical Comedy \", though some of it might\nbe found at a Shakespearean resuscitation\nby Mr Beerbohm Tree, or at a Music Hall.\nThough perhaps this is doubtful, for the\n44 Shavian \" audience has quite its own\ncharacter; a somewhat vegetable one. But\nI do not think the various sections of the\npublic are divided on the point whether they\nare 44 content with what they receive in the\ntheatres\". They continue to go to them; if\nthey were not content they would stay away;\nand this, in spite of the talk of a bad theatrical\nseason, I do not think they have done. It is\nin no spirit of bitterness I say: It is mainly\na matter of advertisement. It was some time\nbefore the public began to accept Shaw; it\nwould be some time probably before they\nwould accept any new and unusual form of\nwork. The advertisement may be cumulative,\nthe effect of years, or it may be sudden and\nemphatic; but advertisement there must be\nbefore the public begin to appreciate 44 the\nnew thing \", whether good or otherwise. The\npublic seem for the most part rather to lack\nconfidence in their own judgment and to\nrequire quiet but insistent assertion as to the\nvalue of any work of art. Indeed, were it not for\nthe often attacked but Iong=>suffering Press,\nprobably few workers in any sphere of art\ncould find as ready or as full a recognition\nhere as the public give then.\n\nM. P., London.\n\nLONDON\nR.S.\n71/J r Hall Caine and Mr Louis N. Parker, the\namazing novelist and maker of pageants*\non August 22nd preached the public a sermon\nat the Lyceum Theatre.- & &\nThere should be some new laws made to\nprotect the Theatre from such unlicensed\ninvasion. The Censor should be given fuller\npowers. The artists and the playgoers want\nno sermons in the Theatres: they want Drama.\nThere are plenty of other places better fitted\nfor sermons.\nThe Daily Telegraph speaks of the play as\nbeing 44 an aid to the cause of social\nreformation This in a preliminary article.\nSocial reformation is a good thing in the\nright place. In the Theatre it is out of place.\nMr Hall Caine and Mr Parker may really only\nlook on their play as Drama pure and simple\nand they may raise the \" social reformation\"\ncry merely for the sake of an advertisement.\nIf they are really serious in their intention\nof reforming Society through \" Pete \"at the\nLyceum Theatre they ought to be transported.\nTo attempt to reform the public is a sign of\nlunacy. St is a sign of downright cruelty to\ndesire to \" reform \" anything. &\nWe do not suspect Messrs Caine and Parker\nof lunacy or cruelty: we believe they are\nwhat is called in England \"Playing the game\".\nSportsmen Caine and Parker cover themselves\nwith both flannel and glory at the same time.\nLet us hope they may wing a bird or two\nand make an impression on the wicket,... but\nGod save the public during the double event.\nPersonally I should like to shoot Mr Caine\nand eke Mr Parker for this double=dyed\nvillainy and treachery to Art and to the\nTheatre.\n\nEDITORIAL NOTES\n\nnPhe announcement made in the August\nnumber of \"The Mask\" that Mr Gordon\nCraig has been invited to four European\nCapitals to produce plays will not be at\nall welcome to that group of grumblers\nin England who find Mr Craig's work\neverything that is eccentric and foolish.\nThese grumblers belong to the class who\nwish to see the arts handled in the same way\nas cheap journalism. & &\nWe have for a long time past had our eye\nupon the papers and have noted that these\nsneers come from particular quarters. That\nMr Craig has not been long ago accepted in\nEngland and given a theatre of his own in\nwhich to work out to the benefit of the\ndramatic art in England his different ideas\nis in some way due to the croaking of these\nignorant creatures. They have given\nthe public an utterly wrong idea of the son\nof Ellen Terry. Such critics are met with at\nall times and in all lands: they are a disgrace\nto the nation that is foolish enough to listen\nto what they. have to say. Such men have\nalways attempted to kill off the poets, painters,\nmusicians and other artists. Sometimes they\nhave managed to kill the man, but his work"}, {"page_pdf": 23, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.23", "texte": "has lived afterwards to prove them and their\nignorant animosity unworthy of the country\nwhich shelters them. But sometimes they\ncome across artists who have no intention of\nbeing destroyed, or of letting their work be\ndestroyed, and it is then that they may be\nsaid to meet just what they do not want to\nmeet, that is, their match. z® z®\nTheir attitude is a very sly and clever one,\nbut we think it is a little too sly for England.\nThe attitude is that of the protector. Some-\ntimes these critics are women but as a rule\nthese writers come before the public in the\nguise of good strong healthy Englishmen who\nwant to protect their country from what\nthey are pleased to call and\nunhealthy art\" which makes your head ache\nand all the rest of it, and the men they\nchoose to attack are those who want to do\nthe most thorough work and have the work\ndone in the most thorough way: in fact, they\nattack the most athletic workers. Thus you\nsee the critics praising up a weak and flabby\nacademician and calling Augustus John's\ndrawings and paintings \" clever but\nunpleasant \". Thus you see such critics\npraising some cheap and popular poet whose\nverses are a disgrace to the intelligence of\nEngland, yet attacking the work of a Meredith\nor a Swinburne; and this was only yesterday.\nThis does England harm in many ways. It\ndelays the arrival of the best things, it\nbenefits foreign countries that are prepared\nto profit and who do profit by them and it\nruns the risk of making the name of the\nEnglish critic the laughing stock of Europe.\nAubrey Beardsley, whom this type off critic,\nwithout understanding calls immoral and\neecentric, is studied by foreign critics and\nfound to be a genius, and after he has been\nkilled is at last praised in unqualified terms\nfor his remarkable achievements. j®\nPatriotism and art are things which can\nnever be connected, but patriotism and\nfirst class work are closely allied, and for\nthe first class artists to be permitted to be\ninsulted by the tenth rate critics shows a\nlack of patriotism on the part of the rulers\nof the Press, J® The younger artists whose\ninfluence is beginning to be felt should be\nable to reckon on the support of the leaders\nof the Press, not because of their art but\nbecause of their first rate work. & z®\nWhen you speak of a soldier it goes without\nsaying that he is a brave man. What you have\nto write about is the athleticism shown by him\nin mind and body. It is precisely the same\nwith the artist. It is folly to write about the\nArt of the artist for without Art he is no\nartist. What may be written about is the\nathletic quality of his work; bearing in mind\nthat the athletics of the body and of the soul\nare two different things. This is not forgotten\nwhen speaking of the soldier. The arts of\nwar are rather dangerous things to criticize\nthough we may be sure that those extraordinary\narts have never been written about in the right\nspirit by any critic who was not a poet at the\nsame time. Thus we have perhaps the only\ntwo war critics in Homer and Walt Whitman.\nSuch criticism is indeed criticism. It inspires\nwhile it describes, and even while it\nblames. But when the English critic,\nwho is devoted to the arts of peace,\ncommences to write he becomes ashamed of\nhimself and of what he is writing and so he\nsneers at all that is beautiful in these arts\nof peace. He has been for so long accustomed\nto sneer with impunity that he looks upon\nthe artist as a poor worm that will never turn\nand this explains the quality of his criticism.\nNow these sneering critics should, for the\nsake of the standard of English journalism,\nand for the sake of the country, be severely\ntaken in hand by the leaders of the Press,\nby the masters who are in the privileged\nposition of raising their profession or of\nlowering it.\nIn the Daily Telegraph of August 19 Mr\nRobert Ross makes an extraordinary attack\nupon Mr Redford, the Censor of plays\nand he calls the Law of England 'stupid*. &\nThe law of England is a very excellent law\nand we do not think that those who protect\nus by formulating that law will be carried\naway by the momentary thirst of a section\nof the public for ugliness in the shape of the\nactualization of religious subjects on the\nstage of a theatre or the actualization of\npictures or sculpture.\nThe Censor, Mr Redford, would really seem\nto possess an extraordinary sense of the\nlimits of art. He is held up to us as an ass\nand a monster, and is positively a man in a\nmillion, one who understands. He protects\nus, and with a natural ingratitude we wish\nto do away with him. &\nTo be Censor of things Dramatic must be a\nvery difficult position.\nWe cannot understand how the burlesque of\nMiss Allen's Salome with the comic head of\nJohn the Baptist (horrible!) was ever\npermitted to get to the public. But then we\ncannot understand how Miss Allen herself was\never allowed on to the stage of the Palace\nTheatre. & Possibly Mr Redford was\ndeceived about the whole matter, or possibly\nhe only controls what is written. Anyhow\nit is quite unlikely Mr Redford will let\nhimself be deceived a second time.\nFor, dear Miss Allen, there is the open air,\nthe wonderful open air, in which to dance,\nand nature is one thing and art quite another\nthing. Your charming hands and feet would\nlend a grace to the lawns and gardens of\nEngland and would not be out of place there:\nall would be natural; whereas on the stage\n...well, we have had Pantomime at Drury Lane\nfor years, and the limbs of the ladies have\nbecome quite a delightful convention.\nIn Paris we believe the intelligence of woman\nhas devised the extremely chic idea of dancing\nentirely naked in front of artificial light. This,\nby the way is not Greek; it is Parisian, and\nit has amused even the"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.24", "texte": "Now why not dance naked upon the stage at\nthe Palace? Why not?.... Why? Nudity is\nnothing very extraordinary. It only becomes\n44 sensational \" ....the sensation of Europe,\nwhen it is placed upon the stage and well\noiled and painted by grease paint, lighted by\nelectric light or other artificial means and\ngazed at by an opera=glassed public who no\nmore know what 44 classic \" means than they\nknow that the Censor exists.\nBut that Mr Robert Ross should want to\nremove the Censor,... the one man who will\nprotect us from an avalanche of artificial\nnudities and from a number of utterly horrible\nexhibitions of passions upon the stage,... that\nMr Ross should wish to do this is very short®\nsighted. &\nMr Ross knows a group of earnest writers\nwho wish to be free to write whatever they\nplease on any earthly subject. What is to\nprevent these writers writing? Oh, if you\nplease, they will only write if they can get\ntheir plays accepted at a theatre. JZ?\nSo you see it is success and money they aim\nat, not the writing of a play. For anybody is\nat liberty to write what he likes. But what\nMr Robert Ross in the enthusiasm of the\nmoment forgets is the awful consequence of\nthe Censor permitting one of these earnest\nwriters the liberty he asks. The consequence\nwould be that a thousand catch=penny writers\nwho have already got their plays written and\nare only waiting for the Censor to give in,\nwould instantly flood England with these so®\ncalled 44religious\" and 44 pyschological\" plays\nwhich would be sure to be acted in a way\nwhich would revolt the feelings of the better\nsection of the public.\nThe Censor is entirely right if he hold us\nharmful to the public the representation of\njealousy, ambition, hatred, meanness, envy,\nmurder, torture, seduction, riot and all the\nother themes which would be seized upon if\nthe dramatist had the opportunity. It does\nnot matter whether the play have a good\nending or a bad ending, whether a murderer\nsucceeds or fails. Remember what Nietzsche\nsays. & & &\n44 Stage-morality. — He who believes that\n44 Shakespeare's stage has a moral effect and\n4> that the sight of Macbeth irresistibly detracts\n44from evil ambition is mistaken. And he is aga=\n44 in mistaken if he believes that Shakespeare\n44 himself was of this opinion. Any man who is\n44 really possessed by mad ambition will watch\n44 this, his emblem, with delight; and the very\n44 fact that the hero perishes in his passion is\n44 the strongest charm in the hot cup of this\n4< delight. & & &\nAnd this of course is what every artist knows.\nIt is what the preachers do not know. The\npeople are like savages. The writers\nand painters and actors who think like\nmissionaries believe they can tame the\nsavage thing by representing to it its\nweaknesses. The artist knows that such\nkind of treatment is tomfoolery. The artist\nknows that there is only one cure for the\nworld.... if cure is needed, and that is the\nopen air treatment and the leaving well alone\ncure, and therefore they toil from morning\nto night to produce works of beauty.\n44 Beauty in art \"as Nietzsche always implied\nis the u imitation of all that is happy\" and, he\nadds, \" this I consider the truth The Censor\ncannot go far wrong if he is as austere as a\nDante would have been, as a Leonardo da\nVinci or a Nietzsche.\nBehind all these men march the great masters,\nand if we are not to follow the great masters\nthen we are to follow the two penny halfpenny\nmasters. The Censor seems to be of the\nopinion that we should be guided by the great\nmasters, and in this we agree with him\nentire y.\nHjphere are those among our critics who tell\nus that our wish to restore beauty to the\ntheatre by restoring vitality to the theatre\nis an excellent thing but that the methods\nemployed for bringing this about must be\nrather more brutal and a little less remote\nthan those adopted by us. zz? &\nSo many clever critics have told us this,\nand we note that the critic of the Burlington\nMagazine, itself a very high toned paper, tells\nus the same thing. &\nWe shall commence to be a little more\nbrutal in our methods very shortly and\nthereby hope to give entire satisfaction. Up\ntill now we have been content to state our\ncase, to show the need for not merely rather\nremote reforms but brutal revolution. That\nis to say, we have thought necessary to show\nto the best of our ability the entire weakness\nat the roots of the art and the institution.\n& The critic of the Burlington tells us that\nit is not too late for the reform of the modern\nstage, and at the same time tells us to be\nmore brutal. & JZ/\nNow reform is anything but brutal. It is\nprecisely the opposite of this. Reform is a\nthing which must take a very long time to\nbring about and as we stated in our first\nprospectus, we have no intention of attempting\nsuch reform; thereby meaning that slow\nand gradual reform as the word is\nunderstood in England, is not to be thought\nof for a moment. Radical reform is another\nmatter and we are entirely in agreement\nwith those who hold that radical reform is\nnecessary.\n\nJ. S.\n\n& ALL RIGHTS RESERVED\nGERENTE RESPONS ABILE, GINO DUCCI"}, {"page_pdf": 25, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.25", "texte": "AMONG THE WRITERS & ARTISTS CONTRIBUTING TO \" THE MASK \" ARE\nJOHN BALANCE ALEXANDER HEVESI JEAN JACQUES OLIVIER\nCARL BEHRENS & H. von HOFMANNSTHAL WOLFE PLAN\nRUPERT BROOKE jS> JAN van HOLT JSF WILLEM ROYAARDS\nALLEN EDWARD HUTTON WILL ROTHENSTEIN\nQUNNAR CASTREN £/ ANDREAS JYNGE OTTO RUNG £/ -0-\nGORDON CRAIG ,s> ELLEN KEY £r RUDOLPH SCHMERZ &\nJ. PAUL COOPER JAN KLAASSEN -<S> MARTIN SHAW 0\nISADORA DUNCAN JZT FRITZ LAPIDOTH xs> ELLEN TERRY XZ> x?\nA. FR1EDENTHAL D. NEVILE LEES x? E. THESLEFF 0\nLOUIS FULEP £> jZ> M. L YKIA RDOPO U LOS JAN C. de VOS js> £>\nADOLF FURST 0 X? HALDANE MACFALL & PHILIP WAHLSTROM\nJULIUSZ GERMAN NEUWERT H. WILSON. X? jS>\nIVO HAUPTMANN x& C. NICHOLSON & HELEN ZIMMERN aS>\nBMBBBAABMMMASTAAABBMAMBMBEEABHABMBAAABBIAAAAABAMBAGAAIMMBABAMHABBA^^\n\"THE MASK\" HAS CORRESPONDENTS IN THE FOLLOWING CITIES\nAMSTERDAM & jS> THE HAGUE & & ROME &\nBERLIN & & HELSINQFORS & SAN FRANCISCO <£?\nLONDON -£? STOCKHOLM &\nCOPENHAGEN & MADRID VIENNA -£? & &\nDRESDEN £> & MUNCHEN & JZ? & WARSAW &\nDUBLIN PARIS & & WEIMAR j& &\nFLORENCES j& PHILADELPHIA\nj& SPECIAL NOTICE.\nA FEW COPIES OF THE EDITION DE LUXE ARE STILL UNSUBSCRIBED FOR AND\nCOST L. 3- 5- o. FOR THE YEAR. JS? & & &\nVPADI v i England, 16 Shillings f Italy, 17 Lire, )\nciiRcrD!DTiAM Germany, 16 Marks I Russia 8 Roubles POST FREE\nauBbCKiHUOiN I America, 4 Dollars | France 20 Francs. !\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,\nII enclose the sum of Signed\nAddress\n\nThe principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs:\nB—M—MT Wl 'I'll \" tmniMn^yOTrwrnHtwMOTKWmww u\nWahlstrom & Widstrand, Stockholm\nPUBLISHED MONTHLY &\nm\nS *A\\ '10+1& V/<£«\n•vyi\nif\nORB\n«\ng£s®\nHI\nSt\nBILDc\nOCH"}, {"page_pdf": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.26", "texte": "THE PAPYRUS\nEdited by Michael Mo nah an\nA Magazine for the Magazine«Weary\nCHICAGO NEWS.—The Papyrus holds a unique\nplace among the magazines and is always stimu-\nlating and interesting. & & &\nERNEST McGAFFEY.—77fe Papyrus Is a stor-\nmy petrel flying over an infinite sea of bosh. &\nPUTNAM'S MONTHLY.—There is sun, wind and\nrain in Michael Monahan's whimsical fancies.\nSubscription One Dollar a Year\n25 cts: additional for foreign countries\nTHE PAPYRUS\nEAST ORANGE, NEW JERSEY\n\nEvery reader of the English language will be\nInterested in a Magazine that is doing the work of\nThe Book News Monthly\nan Illustrated magazine devoted to Literature and\nArt, published in Philadelphia, Pa., U. S. A, at\n10 c. a copy, L. 1,00 a year.\nThe purpose of THE BOOK NEWS MONTHLY is\nto Save Time, to Interest, Instruct, and Guide the\nGeneral Reader. & & & &\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\nThe International News Company.\nAddress:\n& THE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A. &\n\n& THE MOSHER BOOKS\n& £> MDCCCXCI-MCMVIII & & &\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 has 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.\nTHOMAS B. MOSHER jS/ PORTLAND. MAINE U. S. A.\n\nA PORTFOLIO OF ETCHINGS.\nBy Gordon Craig & with a preface.\nthirty portfolios will be issued, although ten or twenty additional copies of some of\nme 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 x15 2/3 ctms. The price for a portfolio will be L. 16 .o. o, (400 Francs or 320 Marks),\nnphese 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.\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture \". & & £?\n» C l,i 41 * C # V # v* ** C» * &\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress,"}, {"page_pdf": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.27", "texte": "LIBRAIRIE ANCIENNE\nT. DE MARINIS & Co. 5 Via Vecchletti - FIRENZE\n0\nta\nIn\na.\nwtr*/1\nl|U»\nrutr\nll\nfil\nJjUUk\nJcnz\n»//\n*«\n• a\nIL\nA.\n• •\nCl\n55\n• It I\nai\nt\nIt!\nII *\ny\nun\nfesL\nSuLJ\nin\n*3/\nULUJl\nU\n«ir\nMil\n00\n<• ••\nSS5S5\n¥\n□ 0\n71\nill!\nMM\n501\nnan\nDO\nhi\nin\nin\n*\nii\nli\nIIIM\n» 0\nL«»i\n□ li\n(II\n<2\nII11\n-tU?\nIIH2\nJ\nJj-i\n0 op\n'u\n• MM\n111\nH\n»!•••\n—' vuvu-IAT\nin •«»\n■~~<Tru w\n—tny\nii»« I /r\nW\n• ••••\njPine Collection of MSS.f Incunabula, raie and curious books XV-X1X cent.\nIllustrated Catalogues free on application.\n\nTHE SOCIETY OF FOUR\na.\nd\nc\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS FROM\nTHOSE DESIROUS OF PURCHA-\nSING SHOULD BE ADDRESSED\nTO THE \" SOCIETY OF FOUR\" AT\nTHE ADVERTISING OFFICES\nOF \"THE MASK BORGO SAN\nJACOPO, 8. FLORENC (ITALY)"}, {"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190809-01.1.28", "texte": "Printed for the Proprietor by E. Morandi, Tlpografia Bodonlana, Via Florence, and published at The Office\n8, B0rg\"0 S. JaCOpO. jgy\nir -- • ■ --\n\nANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £>\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works, Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases & Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904\nFLORENCE\nVia dei Fossi 4 /z?\n(ESTABLISHED i860) £>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei Fossi N. x - FLORENCE\n♦\nHeproduetion of sculptures of Old and\nJUodern masters ** Statues ** Busts M\nVases M Bas-reliefs ** Fountains M Doors\nChimney-pieces •* Bases etc. ete. In\nevery style J& J&\n\nDie Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60\nBerlin W. 15.\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. „ 50\nYearly . . . . „ 12. „ 00\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.\nSample copies on request free of\ncharge. Foreign subscriptions 50 Dollars\none year; 1.70 Dollars three months.\n\nPhilosophical\nLending Library\n5000 volumes on Philosophy, Religiony\nMysticismf Occultism, 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.\nPIAZZA DONATELLO 5 - Tel. 15=30\n- --- -"}]}