{"numero_id": "bm-bmtnaau-1924-07-01", "volume": "bmtnaau_1924-07_01", "ocr_sha256": "27007574c088f5ed0cd271cddb780860856be78fc37de60cc29a14da45b7802d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1924/07_01/bmtnaau_1924-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1924/07_01/bmtnaau_1924-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01", "articles": [{"article_id": "bm-bmtnaau-1924-07-01-c002", "article_bluemountain": "bmtnaau_1924-07_01#c002", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.2.2", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "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=bmtnaau192407-01.1.2", "debut_caractere": 21, "fin_caractere_exclue": 606, "texte": "LITERARY\nTHEATRE AND ENGLISH THEATRE .... J. S 95\nJOHN EVELYN AND THE THEATRE IN ENGLAND,\nFRANCE AND ITALY Gordon Craig . . . . .97\nA COLUMN, A Proposal ....... William Marchpane . . . .116\nGOETHE WRITES TO SCHILLER Goethe 117\nTHE CHARACTERS-OF SHAKESPEARE . . . M. B 119\nTO NEARLY ALL OF US OF THE NEW MOVEMENT By Ourselves 120\nTWO AMERICAN THEATRE MAGAZINES . . . John Semar 123\nA NOTE ON GIUSEPPA CORTESI. .... Giovanni Mezzogiorno . . .131\nWORK AND PLEASURE, A Leading Article reprinted from \"The Times\" . . . .137\nLETTERS TO THE EDITOR. BOOK AND MAGAZINE REVIEWS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c003", "article_bluemountain": "bmtnaau_1924-07_01#c003", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "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=bmtnaau192407-01.1.2", "debut_caractere": 608, "fin_caractere_exclue": 1632, "texte": "ILLUSTRATIONS.\nTIBERIO FIORILLI, SCARAMUCCIA .... Habert . . Frontispiece Plate 9\nWALL PAINTING OF A PERSPECTIVE . . . From \" La Perspective Prac-\ntique. 1651. Fig. / . ■ 10\nJEU DE PAUME DE LA CROIX NOIRE . . . Turgot . . Fig. 2 . ■ 10\nPALAZZO MONDRAGONE, FRASCATI. . . . Rainaldi . Fig. I . ■ II\nPLAN OF THE SENATE HOUSE, SIENA . . . Riccio . . Fig. 2 . » 11\nA \" BARRIERA\" IN ROME ...... F. Collignon. . . » 12\nPLAN OF COURT THEATRE, MANTOVA . . . F. C. Motta. . \" 13\nTWO MAPS ILLUSTRATIVE OF EVELYN'S JOURNEY \"14\nINTERMEDIO IN THE \" LIBERATIONE DI TIRRENO \" Callot « 15\nTHE THEATRE OF VICENZA, Elevation and Plan ... .....\" 16\nMILANO: From an 18 th Century Plan . . . . . . . . * 17\nELEONORA DUSE: IN MEMORIAM . . . . E. G. C » 18\nTHE PONT NEUF, Showing the Hotel de Laincourt . . J. Gomboust. . . . Page 101\nPLAN OF PIAZZA DI SPAGNA, ROME . . . Nolli . . . . . \"105\nANFITEATRO DI VERONA G. B. Piranesi . . . ■ 114\nGIUSEPPA: CORTESI ... . . . . Oldani \"129\nMany Head and Tail Pieces from original Woodcuts and old Designs."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c004", "article_bluemountain": "bmtnaau_1924-07_01#c004", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[94]", "page_fin": "[94]", "image_debut": 10, "image_fin": 10, "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=bmtnaau192407-01.2.4", "titre_corps": "TIBERIO FIORILLI, “SCARAMUCCIA”", "titre_sommaire": "TIBERIO FIORILLI, “SCARAMUCCIA”", "signature_source": "Habert", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "[94]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 74, "texte": "TIBERIO FIORILLI, “SCARAMUCCIA”.\nDiploma with portrait by Habert.\nPlate 9."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c005", "article_bluemountain": "bmtnaau_1924-07_01#c005", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "96", "image_debut": 11, "image_fin": 12, "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=bmtnaau192407-01.2.5", "titre_corps": "THEATRE AND ENGLISH THEATRE", "titre_sommaire": "THEATRE AND ENGLISH THEATRE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.11", "debut_caractere": 25, "fin_caractere_exclue": 1261, "texte": "THEATRE AND ENGLISH THEATRE\n\nTHESE are not one and the same thing.\nThe Theatre is a world thing: the theatre of England\nis a local thing. In the World Theatre the theatre of England\nhas a place, but not the first place. Its place is near the\nFrench Theatre. The French Theatre will not protest when we\nremind it that Shakespeare (though exiled by us) is still a member of\nour Theatre, and a name we use to conjure with.\nWHILE the Russian, German and Italian Theatres cannot show\na star of such magnitude and brilliance as Shakespeare or\nMoliere, they are today taking more forward positions than those to\nwhich the French and English manipulators are happy to see their\ntwo theatres relegated.\nThe Russians, Germans and Italians use the best brains of their\nTheatres*\nThe American Theatre is awake to possibilities.\nTHE English Theatre concerns us most. We would like to see it\nin a more leading position.\nThe English Theatre is hide-bound. It continues to allow the same\nold underhand manipulators of the last forty years to muddle things.\nIts critics, if old, mutter the same contented platitudes; if young, a five\nyears course of the underhand Professionalism soon brings them to toe\nthe line and mumble what they are told to mumble."}, {"page_pdf": 12, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 1909, "texte": "JF this be good enough for you, it is not good enough for us.\nBut how get along with things, ....how get things better....how esta-\nblish a theatre that is worth while?\nBy establishing a National Theatre ? That might prove to be merely\na waste of Public money, for some of those interested in seeing it estab-\nlished are too self-interested. We are not ready for a National Theatre,\nfor we have nothing to put into it. Names are nothing. Shakespeare is\na name and we have rendered it a valueless one today, for we cannot\ndo justice to one of his works ; at best we can but vamp happily, or\nsentimentally, through one or two. By saying this we would not un-\ndervalue the work of the \" Old Vic \" whose members we believe to\nbe an honest group of workers. The '* Old Vic \" may do good\nwork; it is spoken of as one of the best companies at present in harness;\nbut it is not greatly gifted enough, not powerful enough, to restore\nto Shakespeare his old values. Which are immense.\nHonest men working without thought of self, we must have; but\nwe must also have an honest man of brains and imagination as their\nleader.\nNOT until England chooses to drive away the hundreds of petty\nsomebodies, ceases straining an ear to the mumbling of certain\ncritics, those poseurs who have kept our Theatre under for these last\ntwenty years, not till then will there be room for the better workers.\nUntil England clears out the underhand Professional \" manipulators \"\nand invites the new men in, the English Theatre will be forced into\nthe background by other European theatres.\nUNTIL all the artists, and the whole art of the Theatre, be rein-\nstated in the English Theatre, and placed under one leader, the\nold critics may mumble in good prose and the young critics may cry out\nfor mild reforms; ....all is useless. The English Theatre will remain in\nthe place it now fills with such unnecessary distinction,—a back seat.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c007", "article_bluemountain": "bmtnaau_1924-07_01#c007", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "115", "image_debut": 13, "image_fin": 47, "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=bmtnaau192407-01.2.6", "titre_corps": "JOHN EVELYN AND THE THEATRE IN ENGLAND, FRANCE, AND ITALY : DEDICATED TO THE MEMORY OF CHARLES STUART II", "titre_sommaire": "JOHN EVELYN AND THE THEATRE IN ENGLAND, FRANCE, AND ITALY : DEDICATED TO THE MEMORY OF CHARLES STUART II", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 2976, "texte": "JOHN EVELYN AND THE THEATRE\nIN ENGLAND, FRANCE, AND ITALY.\nDEDICATED TO THE MEMORY OF CHARLES STUART II.\nBY GORDON CRAIG.\n\nPART ONE. BEFORE ITALY\nHAS it not been admitted long ago that\nJohn Evelyn is one of the most\ncharming, one of the best of English tra-\nvellers ? No great traveller in the sense\nthat he goes great distances ; but wher-\never he does go he behaves better than\nanyone else. Coryat, who races through\nItaly, France, Germany, England and the\nNetherlands in five months, hastily gob-\nbling up, as he admits, these morsels,\n\" and now \", he adds, \" dispensing to\nthe nourishment of the traveling man of\nthis kingdome \" Coryat must be grum-\nbling at all he sees, five months for five\nlands, ....a month a-piece.... always finding\nthings \" begarly \", always comparing un-\nfavourably, always showing an astonished\nopen mouth (if not an open mind), at\n\" things that I never saw before \" ; in short,\nalways rude.\nBut Evelyn, enjoying himself, never\ngrumbles that he is abroad; and what\nbetter behaviour than this were possible ?\nHis travels take him no-further than Italy.\nStarting on Wednesday, the 1 1 th\nNovember, 1643, at the age of twenty-\nthree, he stops a while in Paris, goes\ndown to Genoa; on to Siena; arrives in\nRome, getting there on Friday, November\n4th., 1644. So he has taken a full year\nto reach the fine city, and there he loiters\ntill the end of January, 1645, that is to\nsay, for three months.\nNow to begin with, this is good be-\nhaviour ; for to rush to, and through a place,\na place which is not your own, is to be in\na hurry. To do a thing in a hurry is a\npity, and to visit a place like Italy, which\nmen have laboured for centuries to perfect,\nwith haste as your guide, unless you be\na monarch, a great person, whose time is\nnot his own but his People's, or a courier\nor a commercial traveller, is to be a donkey:\nsuch a donkey as was Coryat, as was\nLithgow, as were neither Byron nor Goethe.\nYet, for me, Evelyn is a better traveller\nthan either of these two. He is so staid,\nyet so able to enjoy.\nAgain, Evelyn does not potter around\nlooking for trouble ; no one tortures Eve-\nlyn, whereas Mr. William Lithgow, who\nspent nineteen years afoot, went 36,000\nmiles, seemed unable to rest until he was\non the rack.\nAfter leaving Rome, Evelyn goes down\nto Naples, but returns to Rome, recollec-\nting in time that if he once sees Naples\nproperly he must die, preferring to have\na last glance at Rome, and to live to see\nVenice. So he is back in Rome by\nMonday, February 1 3th., and stays there\nuntil Thursday, May 18th., enjoying the\nearly Spring \" purchasing many books\npictures and curiosities \". Then Venice\ncalls, and he moves in that direction so\nas to be there \" if possible, by the Ascen-\nsion \", in May, regretfully \" turning about\nto behold this once and yet glorious city\n(Rome) from an eminence.... to give it my\nlast farewell . Is he not charming as a\ntraveller? Who understands so well, the\nsecret of this youthful, ancient city, \" This"}, {"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 3616, "texte": "once and yet glorious city \". Others would\nnot have risen to the \" and yet \".\nWhile purchasing books and pictures\nhe had met all the men of note, seen most\nthings, enjoying all the things he had seen,\nwithout unusual surprise, yet without mis-\nsing a spark of the novelty of it all; gar-\ndens, houses, grottoes, hangings and other\nexecutions, carnival impertinences, fireworks,\nruins, sermons, jewels, sculpture, men and\nwomen, all these things are immensely\npleasing to Mr. John Evelyn; and it is\njust because he is such a gentleman of the\nworld, never in a hurry, always at his ease\nand keen about all that is happening, that\nI value so highly all that he writes about\nthe Theatres which he found pleasant to\nvisit. And he writes of them as he writes\nof Cardinals or of ruins, of pictures or\nthe fire-works; to him they all live, and\neach lives with its own life, and is there-\nfore not to be confounded with the others.\nNever does he fail to understand and\nso never is he rude. Indeed, a charming\nEnglishman; and, after he had left Italy,\nassuredly those Italians who had met him\nmust have been forced to revise their judg-\nments of the northern savages.\nI cannot imagine old Pepys toddling\ndown to Rome. He evidently could not\nimagine himself doing that, and so he did\nnot g0.... wise old man: and surely this\nPepys was born old even as Evelyn died\nyoung at 86. Pepys' words are so often\nquoted, his chatty bits about Nell Gwynne,\nDrury Lane and so home to bed, with\nall the rest of it. He has grown so stale\nand parochial that he has ceased for me\nto be anything but a bore. He is the\nDemocrat's blessing, I know it; still I would\nlike to ship him to Germany in exchange\nfor Shakespeare. He is so comfortable,\nand gemutlich he could remain.... in Ger-\nmany.\nA dear old man, perhaps; and without\nhim so much would be lost when we come\nto the passages in Evelyn's hook when the\ntwo men meet long after Evelyn's travels\nare over forever and a day. At these\nmoments my mind's eye glances back across\nthe Alps, and I look at Evelyn. We are\nin Pepys' snug smug r00m.... outside the\nwindow, a grey mist, and lanterns and the\nmoving torches.... here, this little traveller,\nnow grown old, stands against the man-\ntelpiece listening to \" the rare voice of\nMr. Pule, who was lately come from\nItaly \", singing \" several compositions of\nthe late Dr. Purcell \". Mr. Pule (plain\nPaoli, or Paul, in Venice without any Mr.)\nis doing his best with the sad sweet Irish\nairs of Purcell. When he returns home\nto Venice he will tell them of Purcell and\nof sadness : of that no doubt whatever.\nBut will he speak of il Signor Pepys ?\n\" Yes \", he may say, \" In Londra, c'e\nun Signore.... molto ricco.... vada, Bruno,\nvada, a Londra \".... adding, \" and do not\nforget when you do go to call yourself\nMr. Brun. It's only over here that we,\nthe Vincis and the Cellinis, are known by\nour christian names Paolo, Leonardo, Ben-\nvenuto. In London it isn't done \". And\nas Evelyn stands there, he knows this, but\nhe will not undeceive poor old Pepys; the\nthought brings back to him a glimpse of\nhis early days in Italy\nNo, he will not undeceive poor old\nPepys : Pepys so ready to believe all he\nhears about Drury Lane or Nell Gwynne,\nbut almost unaware that Italy is a real\nplace.\nWhat Pepys tells us of the Theatre\nis not worth the telling. He had no ears,\nand no eyes even when his sight was\ngood (k).\n\n(a) Well, to be strict to history there was a large\nfamily called Polo in Venice; so he could be one of\nthese ; a Mr. Polo, but Mr Pule, never.\n(b) 1 have read his Diary and I find it not readable*\nYet how vastly more popular than Evelyn's."}, {"page_pdf": 19, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3894, "texte": "Evelyn had taken care to acquire acute\nsenses before he left for Italy, as you will\nsee when I remind you of what he did,\nand what he heard and saw, and how\nhe received it all. I cannot write of it\nall: I may not make a big book, nor\ncould I if I might, but I wish to linger\na short while on all that he speaks of\nconcerning the Theatre, even if I make a\nsmall book in doing so, and 1 will repeat\nall he says, and begin at the beginning.\nFIRST of all I will hazard a reason for\nEvelyn's interest in the Theatre.\nThe earliest record of his about a\nplay is one associated with pain.... and,\nas we know, there is nothing so surely\nbrings back a clear remembrance of a thing\nas pain does. (c)\nSomething we had not loved so very\nmuch (not having noted it) becomes dear\nto us, not because of the pain, but be-\ncause our mind must return, and return\nagain, to consider this unnoted thing.\nLying wounded in a field of dandelions,\ndandelions at which we had looked without\ninterest all our life long, we shall never\nforget them—their form—their colour—\ntheir movement—their scent. They will\nbecome dear, for we shall have come to\nknow them at last. And, so it was with\nEvelyn and the Theatre. Evelyn is se-\nventeen years old : \" The Christmas en-\nsuing being at a comedy, which the\ngentlemen of Exeter College presented\nto the University, and standing, for the\nbetter advantage of seeing, upon a ta-\nble the Hall, which was near to\nanother, in the dark being constrained\nby the extraordinary press to quit my\nstation, in leaping down to save myself\n1 dashed my right leg with such vio-\nlence against the sharp edge of the other\nboard, as gave me a hurt which held\nme in cure till almost Easter, and con-\nfined me to my study\nOXFORD, DEC. 9, 1637.\nConfined in his study for thirteen to\nfourteen weeks, his thoughts turn again\nand again to the Comedy.... to this stage\nvision which was suddenly blotted out\nwithout reason and the last glimpse of it\nbitten into the brain.... into the whole\nbeing rather.\ntf The first Theatre entry in his diary\nrecords a comedy seen in England, the\nsecond records a perspective—the third\nsome marionettes—the fourth a theatre :\nall seen in Paris as he lingers there on\nhis way to 1ta1y.... play, scene, perfor-\nmers and theatre, all in the right order.\nHe stays in the French capital from\nthe beginning of December, 1643, until\nthe middle of April, 1644. Four-and-\na-half months is a long time ; there is\nample margin to see things, many little\nthings, in eighteen weeks, more especially\nsince things were really happening in 1 644\nin Paris. Moliere is in Paris, he is be-\nginning to play comedies, but he is not\nattracting much attention, so no one seems to\nhave taken Evelyn to see him. On Ja-\nnuary 1 st. of this year Evelyn could have\nseen Moliere at the Faubourg St. Ger-\nmain, and seen \" The Illustrious Theatre \"\nat work, for it was founded that year :\nor he could have seen him at the Jeu de\n\n(c) 44 One day wnen I (Benvenuto Cellini) was about\nfive years old, my father was sitting in a ground-floor\nroom of ours in which washing had been going on,\nand where a large fire of oak logs had been left. Gio-\nvanni, his viola on his arm, was playing and singing by\nhimself near the fire, for it was very cold. Looking into\nthe fire, he chanced to see in the middle of the most ar-\ndent flames, a litttle creature like a lizard disporting him-\nself in the midst of the intensest heat. Suddenly aware\nof what it was, he called my sister and me and pointed\nit out to us children. Then he gave me a sound box on\nthe ears, which made me cry bitterly, at which he soothed\nme with kind words, saying 4 Carina mio, I do not hurt\nyou for any harm you had done ; but only that you might\nremember that lizard in the fire there is a Salamander,\nwhich has never been seen for a certainty by anyone be-\nfore. Then he kissed me and gave me some farthings\n44 Vita di Benvenuto Cellini"}, {"page_pdf": 20, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 3627, "texte": "Paume de la Croix Noire on the Quai\nSt. Paul. (Plate 10, fig. 2). But neither\nMoliere nor \" the Illustrious Theatre seem\nto have been quite ripe. Moliere is not\nyet even taking his lessons from the great\nItalian comedian, 1 iberio Fiorilli, (plate 9)\nand it is only after he has done so in\n1645 that he perceives how long the craft\nof Italian acting will take to master, and\nthat, as life is as short as ever, seven or\neight years will not be too long a time\nto devote to the study and practice of\nthe craft. And so, off he goes into the\nFrench provinces to hide his blundering\nfirst steps, concocting at the end of that\ntime his first comedy, more or less a copy\nof an Italian comedy called \" The Blun-\nderer \".\nEvelyn looking around, overlooks this\nlittle beginner, Moliere. Yet he has his\neyes wide open, and one or two curious\nthings are noted down by him. The first\nof these is a piece of skilful perspective,\nnot this time in a theatre, but on a wall,\nin Cardinal Richelieu's villa at Ruell. In\nthe Orangery there he is pulled up by\nperceiving at the end of it, \" the Arch\n\" of Constantine, painted on a wall in\n\" oil (?) as large w as the real one in\n\" Rome, so well done, that even a man\n\" skilled in painting, may mistake it for\n\" stone and sculpture. The sky and hills,\n*( which seem to be between the arches,\n\" are so natural, that swallows and other\n\" birds, thinking to fly through, have dash-\n\"ed themselves against the wall. I was\n\" infinitely taken with this agreable cheat \".\nHere we have an example of that per-\nspective painting which was soon to play\nan important part in the Theatre of the\nnext hundred years or so.\nIt had not yet become the fashion in\nthe north to paint perspectives in the Thea-\ntres, but it was occasionally employed to\nlengthen or vary the appearance of small\ncourtyards. (Plate 10, Fig. 1) (Mr. Povey\nhad an elegant house in Lincoln's Inn Fields\nin 1664 with a perspective painted by\nStreeter in his court. Count de Lain-\ncourt had one as we shall see, in his gar-\nden in the Rue de Seine in 1644. In\nItaly they were the fashion). And some\nperspective scenes were being done at this\ntime in Italy, and by painters, although\nthe artists interested in the Theatre were\nstriving to perfect a different kind of per-\nspective scene there. This was a thing\nbuilt, according to the rules of false per-\npective. (e)\nThis painting on the wall at Ruell\nwas, to Evelyn, an \" agreable cheat \".\nWell, so long as it was agreeable to him,\nwho shall find fault ? Evelyn is a gentle-\nman who is able to persuade me, by his\nplain way, to many a pleasant folly em-\nployed by our ancestors in their life and\nin their Theatres, against which all the\ndull logic of more cynical men could not\npersuade me.\nEvelyn's quiet delight in devoting fifteen\nlines to recording this glimpse of a small\nMarionette Theatre in Paris, delights me,\ntoo, in just the same way, and in like mea-\nsure no less, no more.\nI have not come across his \" find in\nany other record; even the historians Ma-\ngnin (1852) and Maindron (circa 1890),\nRehm (circa 1892), Joseph (1920), (9\nseem to have been, unaware of this Tea-\ntrino, and it is no usual one. I hope some\n\n(d) He had not yet seen the \" real one in Rome\nand so it is likely that he only reports what he is told by\nhis guide.\n(e) See later \" Vicenza \" ; 1646. March. Page 33.\n(f) Magnin, C. Histoire des Marionnettes en Eu-\nrope (1852). Michel Levy Fr£res, Paris.\nMaindron, E. Marionnettes et Guignols (circa 1890)\nFelix Juven, Paris.\nRehm. S. Das Buch der Marionetten (circa 1892)\nErnst Frensdorff, Berlin.\nJoseph, H. H. A Book of Marionettes (1920)\nB. W. Huebsch, New York."}, {"page_pdf": 27, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4674, "texte": "day to find a design showing us what it look-\ned like : here is something for a student to\nsearch for in the archives of Paris. And\nthis is Evelyn's entry : 44 1 went to see the\n44 Count de Laincourt's Palace in the\n44 Rue de Seine (See Page 101) which\n44 is well built. Towards his study and\n44 bedchamber joins a little garden, which,\n44 though very narrow, by the addition of\n44 a well painted perspective, is to appea-\n-44 ranee greatly enlarged ; to this there is\n44 another part, supported by arches in\n44 which runs a stream of water, rising in\n44 the aviary, out of a statue, and seeming\n44 to flow for some miles, by being arti-\n-44 ficially continued in the painting, when\n44 it sinks down at the wall. It is a very\n44 agreeable deceit. At the end of the\n44 garden is a little theatre, made to change\n44 with divers pretty scenes, and the stage\n44 so ordered, with figures of men and wo-\n-44 men painted on light boards, and cut\n44 out, and, by a person who stands un-\n-44 derneath, made to act as if they were\n44 speaking, by guiding them, and reciting\n44 words in different tones, as the parts\n44 require. We were led into a round\n44 cabinet, where was a neat invention for\n44 reflecting lights by lining divers sconces\n44 with thin shining plates of gilded cop-\n-44 per\". ST. GERMAIN, MARCH Ist. 1644.\nObviously one of the most interesting re-\ncords of a 1 7th. century marionnette theatre\nwhich exists. Evelyn has seven more\nentries which touch on this little branch\nof Theatre work.\nWhile in Paris, Evelyn 44 often went\nto the Palais Cardinal \" and saw its thea-\ntre ; of this he says no more than that he\nsaw it. Of the performances there, if he\nwas present at any, he has nothing to\nsay.\nIn fact, he is struck by no dramatic\nperformance at all in Paris. Yet Riche-\nlieu's theatre was just opened (January\n1641) and the Cardinal liked things done\nproperly, and as Evelyn moved in high\ncircles he would have had little difficulty\nin being present at the properest of Court\nperformances.\nIn the Marais Tennis court, in Paris,\nperformances were to be seen with Mon-\ndory (a fine actor, one hears) in the chief\n\n(g) Perhaps The Count de Laincourt should be put down\nas eccentric because he finds pleasure in having such things\nas marionnettes in his palace. Magnin, the historian, tells\nus that the Due de Guise, in 1650, had such little figures\nin his chateau at Meudon ; that Charles V had them in\nthe monastery of Saint Justin ; that Mme. la Duchesse de\nBerry, in 1713, had them at Versailles; the Duchesse du\nMaine, in 1705, at Sceaux ; Voltaire at Cirey had them\nand wrote for them ; Cosimo I cf Florence at the Pa-\nlazzo Vecchio and Francesco I at the Uffizi enjoy these\nspectacles; Lorenzo de' Medici too. The long list of la-\ndies and gentlemen who have understood these beings is\nunending. Charles Perrault (1628-1703) in his 44 Conte\nde Peau d'Ane \" writes ;\nPour mot, fose poser en fait\nQiden de certains mom ens Vesprit le plus parfait\nPent aimer sans rougir jusqu'aux marionnettes,\nEt quHl est des temps et des lieux\nOil le grave et le serieux\nNe valent pas d'agreables sorneties.\nand 44 an entire day \" writes Girolamo Cardan, the cele-\nbrated mathematician and physician, (1550) 44 would not be\nsufficient in which to describe these puppets that psay,\nfight, shoot, dance and make music; while Bernadino\nBaldi in 1575 pens a sonnet to Urbin the great mathe-\nmatician who loved them, wherein he praises the puppets.\nBy ail this we see that Puppets of distinction were disco-\nvered before 1923.\n(h) 1644. This is by no means an early record, for\neven in England, in 1573, Italian marionnettes or pupazzi\nestablished themselves in London, and the Lord Mayor\nauthorizes them to 44 be allowed to settle in the city and\nto carry on their strange motions, as in the past and from\ntime immemorial And can't one see and hear the eager\nItalian, as he applies for a licence, whispering to the Lord\nMayor's secretary, saying, 44 Tell him, Signer, tell him that\nsince Gesii Cristo, nay even since the Padre Eterno him-\nself, this noble company of little people have praised the\ncreation. Tell him that the Pope in Roma sanctions my\ncousin's marionnettes... and his are not a patch on mine.\nTell him this \".... The secretary charmed, warmed, nods\nhis head, and with twinkling eye, goes in to see Mr. Ri-\nchard Hobson, wool merchant of the city of London.\n\"Do you think it will be all right, Macklin ? asks the\nMayor. 44 Well \", replies the Secretary, 44 1 don t know-\nbut the Pope.... \" 44 Yes, it's rather strange of a Pope....\n5ti11.... \" and he signs, and rather happily smiles as he signs.\nThe secretary returns to the Showman in two moments\nwith a charter."}, {"page_pdf": 28, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 3846, "texte": "parts. Tiberio Fiorilli G) was in Paris in\n1639 and 1645.\nYet Evelyn speaks of none of these.\nPerhaps he is waiting until he sees the\nItalian Theatre work. When he comes\nupon this, he speaks to some purpose, as\nwe shall see later.\nPART TWO. ITALY.\nAND now he goes down towards Italy,\nstopping here and there on his way\nto make a note of a theatre or two. On\nThursday, September 15th., \" a singing\ntheatre \" is noted in the Cardinal's old\nhouse at Richelieu ; another, an amphi-\ntheatre, in ruins but \" pretty entire \", at\nVienne in Dauphine; this on Friday Sep-\ntember 30th ; and on Sunday, October\n9th., \" the ruins of a most stately am-\nphitheatre \" at Peigneux \" which I went\nout to design \" and which was called the\nRolsies.\nThen at last—Italy ! He passes\nthrough Genoa, Pisa, Livorno—and on to\nFlorence, arriving there on Sunday, Octo-\nber 23rd., and leaving in a few days for\nSiena, or Sienna, as he writes it. Here\nhe seems for the first time to get word\nof Italian opera, for he writes : \" In the\nSenate House is a very fair Hall, where\nthey sometimes entertain the people with\npublic shows and operas, G) as they call\nthem \". OCTOBER, 1654. SIENA.\nThe \" very fair Hall \" here spoken\nof by Evelyn, is seen in the plan which\nI give here of the Senate House (Plate 1 1,\nfig. 2). It was a theatre built in 1 560\nby Bartolomeo Neroni, detto Riccio, to\nbe rebuilt in 1 753 by Antonio Bibiena, a\nson of \" il Famoso \" Fer-\ndinando Galli of Bibiena. A theatre is\nstill there but it does not look very inte-\nresting, and as most of Antonio Bibiena's\nexisting Theatres look most interesting I\ndoubt if the Siena remains are those of\nthe 1 753 play-house.\nSo far, Evelyn seems to have seen no\nperformances, probably for the reason that\nit is not yet Carnival time when he ar-\nrives in Italy, and it was usually only at\nCarnival time that the Italian theatres\nwere in full swing.\nFrom Siena he goes on through Monte\nOlivetto, Buon Convento, Torrinieri, to\nSt. Quirico. Here was born much later\nthat abominable scenographer Sanquirico.\nEvelyn would not have called his work\n\" abominable\" ; what would he have\nsaid of it, I wonder ? Here Evelyn sees\nnothing of any theatre, but he writes,\n\" .... we lay at a private osteria near\n\"it (the village) where, after we were\nprovided of lodging, came in Cardi-\n\" nal Donghi, a Genoese by birth, now\n\" come from Rome ; he was so civil as\n\" to entertain us with great respect, hea-\n\" ring we were English, for that he told\n\"us he had been once in our coun-\n\" try.... He came with great state with\n\" his own bedstead and all the furniture,\n\n(i) The name of this actor is sometimes incorrectly\nspelt and this brings to the student a large slice of trouble.\nThere were two other actors of Italy born in Napoli and\nwho wrote their names FIORILLO. Our actor's name is\nspelt FIORILLI.\nMaurice Sand for no known reason misspelt it as\nFIURELLI, and H. Maynard Smith, Andrew de Ternant,\nAlladice Nicoll, J. A. Symonds and M. Moland make\nthe same error.\nOn the other hand those who spell it correctly are;\nCo3tantini (1695); F. Bartoli (1701); Campardon (1871);\nA. Bartoli (1880); Pougin (1885); Rasi (1897); Mant-\nzius (1903); Toldo (1910); and Tonelli (1924).\nOn seeing a document signed by this Actor in 5667\non March 25th, and noting that he too spells his name\nletter for letter as do these nine authorities, our opinion of\nthem as careful Historians is not weakened.\nM. Andrew de Ternant was so particular, recently, to\n* correct' a correspondant in \" Notes and Queries , saying\nthat Fiorilli's name must be spelt Fiurilli that these few\nwords will not be amiss. (For Fiorilli s portrait see Plate 9).\n(j) Such operas had not yet been seen or heard in\nEngland, and it is not until thirty years later on January 5,\n1674, that Evelyn, then 54 years of age, reports the arri-\nval of the first Italian opera in England."}, {"page_pdf": 29, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2668, "texte": "\" yet would by no means suffer us to re-\n'' sign the room we had taken up in the\n\" lodging before his arrival \". The si-\nlence of this little place, the bustle of a\ncoloured Cardinal coming laden with beds\nand things from one direction, meeting\nwith our plain Evelyn, coming bedless\nfrom another; the one old, knowing Rome\nand most things else so well ; the other\nyoung, and spruce and all so polite and\nand polished. I like it, for it reminds me\nof an unwritten chapter by Dumas.\nOn goes Evelyn, and up to Radico-\nfani, 12 miles further to Acquapendente,\ndown to the Lake of Bolsena, to Mon-\ntefiascone, to Viterbo. Then a rest, then\non to Capranica, and, arriving in Rome\non Friday, November 4th., he enters it by\nthe Vatican gate \" wet to the skin\nowing to a violent shower.\nEvelyn stayed at the house of Mon-\nsieur Petit (at 20 crowns a month), went\nto bed, caused a good fire to be made,\nand so got dry. This house was near the\nPiazza Spagnola, or Piazza di Spagna,\n{shown below)where ' forestieri ' of note\nwere wont to lodge. It was here that\nByron, Keats, de Brosses, and Monte\nCristo.... but I must not mix the real and\nthe fanciful... back to our Evelyn.\nThe next morning he quickly gets\nacquainted with several English, Scotch,\nand Irish men who dwelt in Rome, and\nto whom he had brought letters of re-\ncommendation. To Father John, superior\nof the English college of Douay ; to\nMr. Patrick Cary, brother of Lord Falk-\nland ; to Dr. Bacon and Dr. Gibbs, a\nScotchman; to Father Courtney of the\nJesuit College, and my Lord of Somerset,\nfrom whom he received \" instructions how\nto behave in town \", and all else he\nwished to learn.\nHe engages a cicerone, to take him\nround, and on his second day, Sunday,\nNovember 6th., sees so much (recording\nit all) that to anyone who has been in\nRome it is a wonder how he did it. On\nthe day following he sees his first Thea-\ntre.... the Theatre Marcello :—\" We\n\" went into the Theatre of Marcellus,\n\" which would hold 80,000 persons,\n\" built by Augustus and dedicated to his\n\" nephew; the architecture, from what\n\" remains, appears to be inferior to none.\n\" It is now wholly converted into the\n\" house of the Savelli, one of the old\n\" Roman Families \".\nThat which remained on November 7,\n1644, more or less remains now. The\nPalace built in the Theatre and on it,\nnow belongs to the Orsini family. The\nsame day that Evelyn saw this old clas-\nsic masterpiece he went on to the Pa-\nlazzo Barberini designed by Cavaliero Ber-\nnini, went through it and somehow mis-\nsed seeing the Theatre in the Palace\nbuilt by Bernini in 1634. It must have\nlooked splendid, being then but ten years\nold, and one of the earliest of that shape."}, {"page_pdf": 29, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.29", "debut_caractere": 2799, "fin_caractere_exclue": 2878, "texte": "(k) For a view of this Teatro Marcello see \" The\nMask M Vol 10, No. 1, page 17."}, {"page_pdf": 30, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4603, "texte": "Still, on Saturday, November 19th., he\nhas this entry when alluding to the Bal-\ndacchino in St. Peter's. 44 It is the work\n\" of Bernini, a Florentine sculptor, archi-\n\" tect, painter, and poet, who, a little\n\" time before my coming to the city, gave\n44 a public opera (for so they call shows\n44 of that kind) (*) wherein he painted the\n\" scenes, cut the statues, invented the en-\n-44 gines, composed the music, writ the co-\n\" medy, and built the theatre as, of\ncourse, anyone will have to do in the fu-\nture who would create a Drama all of a\npiece. Interesting to know it has already\nbeen done in 1644.\nOn Tuesday, November 8, he comes\nacross something very closely related to\nthe Italian theatre, though not actually in\na theatre. \" This evening I was invited\n44 to hear rare music at the Chiesa Nova....\n\" the tapers being lighted, one of the\n4' order preached; after him stepped up\n44 a child of eight or nine years old, who\n44 pronounced an oration with so much\n45 grace that I never was better pleased\n44 than to hear Italian so well and so in-\n-44 telligently spoken. This course it seems\n44 they frequently use, to bring their scho-\n-44 lars to a habit of speaking distinctly\n44 and forming their action and assurance,\n44 which none so much wants as ours in\n44 England. This being finished, began\n44 their Motettos, which, in a lofty cupola,\n44 richly painted, were sung by eunuchs\n44 and other rare voices, accompanied by\n44 theorboas harpischords, and viols, so\n44 that we were even ravished with the\n44 entertainment of the evening \". v)\nWhen in Rome, Evelyn does not\nseem to have noted down anything about\nthe Theatre built in the Vatican by Bra-\nmante in 1514, although it appears he\npassed through it. It looks so untheatrical,\nmaybe that is why, like someone well-\ndressed, it escaped observation.\nHe went further south for a few weeks,\nbut even in Naples does not speak of the\nTeatro dei Fiorintini, which, built in 1618,\nwas renovated in 1707, and so was at\nEvelyn's service more especially since he\nwas there during the Carnival.\nHe returned to Rome on Monday,\nFebruary 13, 1645, and on the 17th.\nis invited, after dinner, to the Academy\nof the Humorists. 44 I was invited after\n44 dinner he writes to the Academy of\n44 the Humorists, kept in a spacious Hall\nbelonging to Signor Paolo Mancini,\n\n(*) See Siena, pag, 104.\n(1) \" Which none so much wants as ours in En-\ngland wrote Evelyn on Nov. 8, 1644. Which none\nso much wants as ours in England, I echo to-day.\nAnd why not get what we so much need, all will surely\nask ? I have written elsewhere of this. I am preparing\na small book about those colleges wherein so many young\nprinces and even those less highly born, were trained to\nact, to speak, to carry themselves, to achieve the assurance\nwhich Evelyn speaks of. These colleges contained thea-\ntres, real theatres. They did not fear the theatre in those\ndays. It would seem they understood some of its values,\none of which is to train young men who will have to take\npart in the play of Public life how to stand, move and\nspeak before a public like Princes.\n(m) About the year 1600, some beaux esprits, who\nassisted at the marriage of Paolo Lucio Mancini, a Roman\ngentleman, exercised their wit, in the course of the eve-\nning, in composing sonnets and epigrammatic verses, on the\nladies who were present. Pleased with this amusement\nMancini, a man of learning and of taste, invited his guests\nto a further exercise of their talents. Regular meetings\nwere now established, and the plan of amusement exten-\nded. Though the hasty ebullitions of wit were not sup-\npressed or discouraged, the members, says Muratori, chiefly\ndevoted themselves to the composition and recital of beau-\ntiful and ingenious (\" vaghe ed ingegnosi \") comedies.\nAt these *' merry meetings \" all the principal nobility and\ngentry of Rome attended. The fame of the academy\nspread, and the associates were universally denominated\n\" i begli umori \". This name was afterwards changed into\nthat of Umoristi or Humorists, on the theatrical exhibitions\ngiving place to the recitations of poetical compositions\non various subjects. The sala, or spacious apartment in\nwhich these meetings were held, still existed in the time\nof Muratori, decorated with the arms of the principal mem-\nbers. Tassoni, a distinguished associate, thus immortalises\nthis academy in the eleventh canto of his Secchio Rapita :\nSped! il corriere a Gaspar Salviani\nDecan de Faccademia de* Mancini.\n\" Historical Memoir of Italian Tragedy \" Joseph\nCooper Walker, (1798). Pages 158-159.\nWhat 44 i begli umori \" means Mr. Walker does\nnot explain."}, {"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4293, "texte": "\" where the wits of the towns meet on\n\" certain days to recite poems, and de-\n\" bate on several subjects. The first that\nspeaks is called the Lord, and stands in\nan eminent place, and then the rest of\nthe Virtuosi recite in order. By these\ningenious exercises, besides the learned\ndiscourse, is the purity of the Italian\nlanguage daily improved. The room is\nbeing hung round with devices, or em-\nblems, with mottoes under them. There\n\" are several other Academies of this na~\n\" ture, bearing like fantastical titles. In\nthis of the Humorists is the picture of\nGuarini the famous author of the ' Pa-\nstor Fido ' , once of this society. The\nchief part of the day we spent in hearing\nthe academic exercises \". ROME,\nFEBRUARY 17, 1645.\nI should say that actors, living at\nthis time in Italy, who wished to hold\ntheir own with an audience who went in\nfor \" these ingenious exercises \\ and who\ndaily improved the Italian tongue \", must\nhave been rathdr fine speakers, and rather\nexceptional in most other ways. I well\nunderstand, after reading this passage in the\nDiary, how it was that the actress Isa-\nbella Andreini could speak many langua-\nges, write sonnets, invent plays, and pen\nsuch \" letters \" as she published in 1 588\nand 1607 and reprinted four times.... in\n1612, 1617, 1625 and 1634.\nOne turns to Tarleton's Jest Book\n(161 1), and, however funny one may find\nsome of the jokes, it must be confessed they\nlack grace ; possibly owing to the fact\nthat in England those \" ingenious exer-\ncises \" of speech did not daily improve\nour English tongue, and actors had there-\nfore less to keep them conscious of a\nfine standard in the way of speech and\ncarriage : who knows ?\nOn Saturday the 28th. of February,\nEvelyn goes out into the street to see what\na Roman Carnival is like. \"We were\n\" taken up next morning in seeing the\n\" impertinences of the Carnival, when all\n\" the world are as mad at Rome as at\nother places ; but the most remarkable\n\" were the three races of the Barbary\n\" horses, that run in the Strada dell Corso\n\" without riders, only having spurs so\n\" placed on the backs, and hanging down\n\" by their sides, as by their motion to\n\" stimulate them ; then of mares, then of\n\" asses, of buffaloes, naked men, old and\nyoung, and boys, and abundance of\nidle ridiculous pastime. One thing is\n\" remarkable, their acting comedies on a\n\" stage placed on a cart or plaustrum,\nwhere the scene or tiring-place, is made\nof boughs in a rural manner, which\n\" they drive from street to street with a\n\" yoke or two of oxen, after the ancient\n\" guise. The streets swarm with prosti-\ntutes, buffoons, and all manner of rab-\n\" ble ROME, FEBRUARY 28, 1645.\nAdemollo has a word to say on this\npassage in the Diary (n)\n\n(n) Passing over ihe whole of the sixteenth century,\nwe find another experiment, also in the open air, at the\nbeginning of the following century. In fact, while Riario's\nmusic, sung in the open air or in an enclosed place, had a\nscenic setting, this second one has for theatre a car which\nmoves from one piazza to another. The invention is due\nto Pietro Delia Valle, a celebrated traveller, artist and\nman of learning, and perhaps also the author of the poem,\nwho in his well known letter of the 16th January 1640\nto Lelio Guidiccioni speaks in the following terms of the\nmusical composition, the work of Paolo Quagliati, and of\nthe performance given of it in the Carnival of 1606;\n\" And in regard to the music of my Car composed\nby Quagliati for the most part in my room, according as\nhe saw it pleased me, with which I went out in mask in\nthe Carnival of the year 1606. And it was one of the\nfirst actions (so to speak) performed in music to be heard\nin Rome. Although there did not take part more than five\nvoices and five instruments, just so many as, in a moving\nchoir, could have place, they did not for this reason sing\nonly one at a time, but the personages sang now alone, now\ntwo together, now three, and, at the end, five, which pro-\nduced a very fine effect; and the music of that song, as\nmay be seen in the printed volumes in circulation, although\nthe greater part was composed in such manner as to be\nrepresented, was not altogether of that simple and over-\ntrivial recitative style which many use, and which soon\nbecomes tiresome to the audience; but was adorned and"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 3865, "texte": "What comedies were acted, and whe-\nther by professional actors or young col-\nlege students, whether it was a genuine\nsurvival of the ancient mode, or a \" re-\nvival \" like the Elizabethan Society or\nlike some \" League of True Art \", or\nwhether merely a group of masqueraders\npretending to be acting comedies, seems\nvery uncertain.\nOn May-day he goes to his first play\nsince his arrival in Italy, and curiously\nenough it is an English play. \"We were\nentertained at night with an English\nplay at the Jesuits where we before had\ndined \". The next evening he is at Prince\nGalicano's palace. There he witnesses his\nfirst Italian opera. The name he does not\ngive, but it was \" Proserpina Rapita\". Prince\nGalicano composed the music and there\nwere present Cardinal Pamphilio, the\nPope's nephew, the Governors of Rome,\nGirolamo Lomellino of Rome, the Car-\ndinal's ambassadors, ladies, and a num-\nber of nobility and strangers \". One\nof the ambassadors is De Valengoy. Eve-\nlyn calls it \"a magnificent opera \" and\nthere an end.\nThere was also a Barriera that day.\nThere had been in the morning a joust\nand tournament of several young gent-\nlemen on a formal defy, to which we\nhad been invited ; the arizes being di-\nstributed by the ladies, after the knight-\nerrantry way. The lancers and swords-\nmen running at tilt against the barriers,\nwith a great deal of clatter, but without\nany bloodshed, giving much diversion to\nthe spectators, and was new to us tra-\n\" vellers \".\nAnd this well describes the playful-\nness of a Barriera, performed, it seems,\nas often as not, in the great room of the\nPalace. The design by Sacchi (Plate 12)\ngives us the appearance of a Barriera in\nthe open air, but whether indoors or out\ndoors it was ever a formal ceremony where\nthe arts of war were made amusing. Callot\nhas engraved at least one such indoors\nbarriera.\n\" A magnificent opera ' ', was all\nEvelyn wrote of the evening performance,\nand we may add a magnificent audience.\nThis opera was performed in the private\ntheatre of Prince Galicano ; it was not a\n12-foot stage with a proscenium, and\nsome footlights hired from the theatrical\noutfitter in Rome (if such a farce of a\nbusiness existed in those days) ; it was a\nspecially constructed \" teatro \" like that\nin Parma in the Palazzo Farnese (1619) ;\nor like those in the court at Torino\n(1638); or in the Palazzo Barberini\nin Rome (1634) ; or in the Palazzo\nDucale in Milano (1598); or like those\nin Ferrara (1606-1612). As large as\nthe largest in Parma, it probably was not;\nnor so small as the Teatro in the Collegio\nRomano. Still \" a magnificent opera\nmeans from Evelyn something, a great\ndeal more than private theatricals. The\nTheatres built for Princes in the first half\nof the 17th. century were generally in\ntheir palaces, not added on to them at\none side as after-thought, and were finely\ndeveloped pieces of work. There was\nno longer anything haphazard about them,\n\nfull of grace with charm, without departing at all from an\nelevated and studied manner of representation, so that it\npleased extremely; and this could be well seen by the\nconcourse of almost the whole city which followed it; and\nit not only never wearied the hearers, but many of them\nwished to hear it four or six times, and there were some\nwho followed it always to all the ten or twelve places\nwhere the singing went on from twenty-four o'clock (J)\nuntil after midnight.\nIt is known that the use of these theatrical cars con-\ntinued in Rome. The Englishman John Evelyn, who was\nhere in 1645, that is forty years after the car of Pietro\nDelia Valle, tells in his Memoirs of having seen them, and\ndescribes them: 44 On the car or plaustrum the scene is\nformed by branches rustically disposed* and these ambulant\ntheatres go about the streets drawn by two or four oxen.\"\nA. Ademollo. \" I Teatri di Roma\nnel Secolo Decimosettimo, pp. 2-4.\n(l) Probably sunset."}, {"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 3639, "texte": "nothing at all in the nature of makeshift.\nAlready in 1545, Serlio had brought out\nhis second volume of Architecture in which\nhe had clearly stated in words, and shown\nby diagrams, how a theatre should be\nbuilt, how a stage was to be constructed,\nand how the matter of scenes and lighting\ncould be dealt with. In 1614, Chiara-\nmonte had written his book, to be pub-\nlished in 1675. <°)\nAnd thus when F. Carini Motta comes\nout with his treatise on theatre building\nin 1676, thirty years before Evelyn's\ndeath, the whole question has been prac-\ntically solved.\nI give a plan of a Court Theatre as\nconceived by Motta (Plate 13).\nSo we must remember that the Thea-\ntres that Evelyn saw in 1644-46 were\nno early improvised attempts to make the\nbest of a bad job, such as the French\nand English architects were making at that\ntime, but buildings intended for a serious\nand definite purpose; and that purpose\nthe housing of Drama (both prose and\nlyric) in the very best possible way, ar-\nrived at without haste, without delays,\nwithout thought of cost: and without the\nopposition of that intolerable Puritanism\nwhich considers that all things, even faces,\nare best when plain.\nBefore leaving Rome, Evelyn circles\nround it like a bird ere it swings away\nto its destination. He calls at the great\nhouse built for Cardinal Scipio Borghese\nat Mondragone (Plate 1 1 fig. 1). \"We went\n\" hence to another house and garden not\n\" far distant, on the side of a hill called\n\" Mondragone, finished by Cardinal Sci-\n\" pio Borghese, an ample and kingly edi-\n\" fice. It kas a very long gallery, and at\nthe end a theatre for pastimes, spacious\ncourts, rare grots, vineyards, olive-\ngrounds, groves and solitudes \". TIVOLI,\nFRIDAY MAY 5, 1645.\nThen at Tivoli in the Villa D'Este\nhe notes that most theatrical model \" of\nRome as it was in its beauty, of small\nmodels, representing that city, with its\n\" amphitheatres, naumachia, thermae, tem-\n\" pies, etc. \".\nThursday, May 18, 1645, Evelyn\nleaves Rome. He goes through Capra-\nrola, dines there, and gets to Monti Rossi,\n20 miles from Rome \", by night; next\nday is at Viterbo, dines there, and on to\nSt. Laurenzo; next day, Saturday the\n20th. at Radicofani and on to Turnera.\nOn Sunday, the 21st., he is in Siena,\nwhere he dines ; then on to Pisa ; back\nto Leghorn, where he is obliged to go\nfor some money for the rest of the jour-\nney. Then on to Lucca, where he stops\nto note that \".... the inhabitants are excee-\ndingly civil to strangers, above all places\nin Italy, and they speak the purest Ita-\nlian \". LUCCA. MAY 21st., 1645.\nAnd this every visitor to Lucca must\nhave discovered for himself. Even the\nPresident Dupaty in 1785 seems to have\ncome under the charm of these people.\nIn Lucca he does not linger to note\nanything about the theatre, although he\ncould have heard a musical Drama at the\nPalla Corda in the Palazzo dei Borghi.\nNor does he stop for entertainment at\nany of the cities between Lucca and Venice.\nIt is to Venice he hastens, and so we do\nnot hear what he thought of the Teatro\nGustavillani, built by Seghizzi in 1640,\na theatre with a new idea in it, an idea\nto be later adopted by the Bibiena family\n\n(o) Furtenbach in 1628 and Sabbattini in 1637\nbring out books on this subject. Although Furtenbach is\nthe earlier of the two, he is, I think, merely repeating\nwhat is known in Italy for some years. I think Sabbattini\nis probably more important.\n(p) \" Farewell, Lucca 1 Adieu to M. R..., and\nadieu to Liberty ! but farewell chiefly to thee, Theresa\nM....; for it is only thee Theresa M. that one quits, in\ndeparting from Lucca! \" Sentimental Letters on Italy.\nDupaty. Trans. 1789. London."}, {"page_pdf": 38, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 4387, "texte": "in the theatres in Verona and Mantua,\nand in the Falconi Theatre in Genoa, by\nsome Architect at present unknown.\nStill Evelyn does make one note on his\nway to Venice. It is while stopping for\na moment or two in Florence, that he\nrecords the existence of the Ducal Thea-\ntre in the Palace which is now the Uf-\nfizi Gallery fa). \" Then, passing the Old\nPalace, which has a very great hall for\nfeasts and comedies, the roof rarely pain-\nted, and the side walls with six very\nlarge pictures representing battles, the\nworks of Gio. Vassari \". W\nThe best engraving to be found, show-\ning this theatre, is the design by Jacques\nCallot (Plate 15).\nNow Evelyn quickens his pace. Off\nto Scarperia, up and over the Appenines,\ndown to Fiorenzuola, that tiny little plea-\nsant town in the form of a cross; through\nPianura, Scaragalismo, Loiano, and, after a\nrest at Bologna, on to Ferrara, to Corbua by\nboat, past Chioza and Palestina and Ma-\nlamocca, and at last he is in Venice,\nwhere I am too, as I write this.\nThe journey from Rome to Venice \",\nsays he, \" cost me seven pistoles and\nthirteen julios \". What a fine man this\nEvelyn is : would I were wealthy enough\nto stop to reckon what my trip has cost.\nIt is June when Evelyn arrives in this\nlovely place. This is no city, it is no ordina-\nry thing related to anything else upon earth.\nIt is just another world where this\nworld seems not to have intruded, except\nwhen Bonaparte came and fell with all\nthe grace with which even a conqueror\ncould fall ; leaving the place as it was,\nunchanged, unaltered, so mysteriously po-\nwerful is its spirit.\nI was looking to-day for some small\nrecognition of Bonaparte's visit. I sup-\npose I have not looked long enough.\nI imagine I shall find some little Venetian\nstatue raised to him in one of the little\nside streets ; and some acknowledgement of\nhis refraining from doing what every con-\nqueror does elsewhere, stripping the place,\nburning, pillaging, ruining its beauty (s).\nAbout the sixth day after his arrival\nin Venice, Evelyn is taken to a theatre,\nthe Teatro Novissimo (0, and which, since\nit was built in 1641, was then but four\nyears old, and therefore in superb condition.\nIt was demolished in 1647, so it was\nalways ' Novissimo\nThe opera \" Ercole in Lidia \" by\nConte M. Bisaccioni and Giov. Rovetta\nis being performed, and Evelyn goes with\nLord Bruce, first Earl of Elgin.\nThe details of this evening's entertain-\nment are given in the Diary, and seem\nto have been enjoyable. \" This night,\nhaving with my Lord Bruce fa) taken our\n\n(q) The Ducal Teatro was built in 1 583 by the architect\nB. Buontalenti, and is sometimes called Teatro de* Me-\ndici. One year later the more academic theatre at Vicenza\nis built by Palladio. Compare the two designs, figs. 1 & 2\nPlate 16. Palladio thinks too long about it all and\narrives at less than Buontalenti achieves; and look how\nmuch Callot adds to the whole movement towards theatre\nconstruction. By this one etching, I find Callot does more\nto bring about the modern horse-shoe form than anyone else.\nHow valuable is a little touch of inspiration ! and here comes\nCallot into the Medician theatre in 1616, and, seeing that\nthe people curve the floor to make room for the performers,\nhe emphasises this fine curve, and fixes it once and for all\nin a lovely etching with such a way about it that everyone\nbuys a copy. It is in 1616, and slowly it enters the\nbrains of the architects that exactly this curve is pretty\nfine; and for good or ill they follow the lines of the\netching in their future ground plans, the first being 1627\nin Bologna so far as I have been able to trace the thing,\nand the second—in Rome—at the Tordinona Theatre in\n1671—Specchi the architect.\n(r) J found none while I was there ; but I find it exis-\nted, or exists some where, recorded in the History of Italy.\n(s) I am reminded that he carried off a gold horse\nor two: but compare Ypres for what he might have\ndone : or Paris itself in 1871-2.\n(t) Galvani tells us that we must not confound this\nTeatro Novissimo with another theatre of the same name built\nentirely of wood. This one which Evelyn went to was also\nknown as the Teatro della Cavallerizza ; Tassini says it\nwas built in 1640.\n(u) It was another Lord Bruce who in 1827 collected\nfor Ebers of the King's Theatre a number of dancers in\nParis for the London Ballet; so the Bruces seem to have\nbeen fond of theatricals."}, {"page_pdf": 43, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3609, "texte": "\" places before, we went to the Opera,\n\" where comedies and other plays are\n\" represented in recitative music, by most\n\" excellent musicians, vocal and instru-\n\" mental, with variety of scenes painted\n\" and contrived with no less art of per-\n'' spective, and machines for flying in the\n\" air, and other wonderful motions ; ta-\n\" ken together, it is one of the most mag-\n\" nificent and expensive diversions the\n\" wit of man can invent. The history\n\" was ' Hercules in Lydia the scenes\n\" changed thirteen times. The famous\n\" voices, Anna Rencia, a Roman, and\nreputed the best treble of women ;\n\" but there was an eunuch who, in my\n\" opinion, surpassed her ; also a Genoese\n\" that sang an incomparable bass. This\n\" held us by the eyes and ears until two\nin the morning, when we went to the\nGhetto de san Felice, to see the no-\nblemen and their ladies at basset, a\n\" game at cards which is much used ;\n\" but they play not in public, and all\n\" that have an inclination to do it are in\n\" masquerade, without speaking one word,\n\" and so they come in, play, lose or\ngain, and go away as they please.\n\" This time of licence is only in Carnival\nand this Ascension Week ; neither are\n\" their theatres open for that other mag-\n\" nificence, or for ordinary comedians,\n\" save on these solemnities, they being a\n\" frugal and wise people, and exact ob-\n\" servers of all sumptuary laws'*. VENICE, ( )\nMAY-JUNE 1645.\nSo much for Venice in 1645. Ve-\nnice in April, 1922 is, in such matters,\nrather different. On the walls are big\nplacards announcing the great attraction at\nsome vast cinema hall: \"Le Tre Illus-\nsioni: Illusione dell'oro, Illlusione dell'amore,\nIllusione della felicita\nConceive the astonishment of any 1 7 th.\ncentury gentleman on coming to this city\nof realized dreams, at being met with\nsuch a piece of sceptical audacity, such\nawful fibs. For with all due respect to\nthe value of shadows, it is the light which\ncreates them, and gold, love, and hap-\npiness are no illusions. The only illusion\nis the ass who finds them so. This or-\ndinary piece of knowledge was familiar\nto the Venetians in 1645, and why mo-\ndern Venetians should have found it amu-\nsing or necessary to spoil their city by\nbecoming sceptical like those who live in\nthe north east of Europe I cannot say.\nThe liars who make money in this way\n(the cinema merchants are liars when they\nplacard the towns with this rubbish) would\nin 1645 have been called before the\nCouncil of Ten and quietly removed in a\nsack as dangerous to the Republic. Why\nnot to-day ? Why should we see no\ndanger in such fearful cynicism doled out\nto a credulous public, which is made to\npay and suffer for such wretched lies ?\nWe do \", you say. Then why tole-\nrate it ? \"It pays us \", you answer.\nThen Buona Notte \".\n\" The scenes changed thirteen times \",\nsays Evelyn, and \" this opera held us\nby the eyes and ears till two in the mor-\nning \". Meantime in England, the Pro-\ntector Cromwell was preventing our stage\nfrom developing, while building ships with\nportraits of himself in wood at the prow,\nand a Fame holding the laurel wreath\nover his insulting head ; with the words\n\" God with Us \". \" Gott mit Uns \",\nthen, is not so new after all, nor so German.\n\n(*) It is Evelyn who writes 41 Venice \" instead of\nVenezia, and 44 Padua 44 Rome \" and 44 Florence \" in-\nstead of 44 Padova 44 Roma \" and 44 Firenze so in this\nessay we have followed the Englishman's spelling so as to\nsave confusion. Ed.\n(v) Since I wrote this, Signor Mussolini has come\ninto power, He may probably turn his attention, in good\ntime, to the lies of the cinema.\n(w) Evelyn Diary, April 9, 1655."}, {"page_pdf": 44, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 3725, "texte": "He goes to Padua for a brief visit,\nand one day, \" After dinner we walked\nto the Palace of Foscari all' Arena, there\n\" remaining yet some appearances of an\nancient theatre, though serving now for\n\" a court only before the house PADUA\n1645.\nHe now plies to and fro between Ve-\nnice and Padua. In Padua, he could have\nseen the Teatro delle Stallone, the only\ntheatre of the place built in 1642. He\nwas thfre long enough, but it is quite\nlikely that, during his visit, nothing was\nbeing performed. I can find no records\nof any performances at that Teatro be-\ntween 1642, and about 1651. The\noutside of the Theatre can be very cleaily\nseen in an engraving by Canaletto of Lo\nStallone del Prato della Valle.\nJanuary 20, 1646, is a Saturday, and\nSignor Francesco da Molin is elected\ndoge of Venice, and at Shrovetide Evelyn\nslips over to Venice and witnesses three\nmore operas and other things, and once\nmore hears his enchanting Anna Rencia\nsing, and what is more, in true 1880\nstyle, asks her out to supper. One al-\nmost sees an eyeglass, a top hat, and\nthe Gaiety Stage-Door.\nHere is Evelyn's entry. \".... The great\nbanks are set up for those who will\nplay at basset ; the comedians have\nliberty, and the operas are open ; witty\n\" pasquils are thrown about, and the\nmountebanks W have their stages at\nevery corner. The diversions which chiefly\ntook me up was three noble operas, (y)\nwhere were excellent voices and music,\n\" the most celebrated of which was the\nfamous Anna Rencia O, whom we invited\n\" to a fish-dinner after four days in Lent,\n\" when they had given over at the theatre.\nAccompanied with an eunuch whom she\nbrought with her, she entertained us with\nrare music, both of them singing to a har-\n\" pischord. It growing late, a gentleman\nof Venice came for her, to show her\nthe galleys, now ready to sail for Can-\ndia. This entertainment produced a se-\n\" cond, given us by the English consul\nof the merchants, inviting us to his\n\" house, where he had the Genoese, (xx)\nthe most celebrated bass in Italy, who\n\"was one of the late opera-band. This\n\" diversion held us so late at night, that,\nconveying a gentlewoman who had sup-\nped with us to her gondola at the usual\n\" place of landing, we were shot at by\ntwo carbines from another gondola, in\n\" which were a noble Venetian and his\ncourtezan unwilling to be disturbed,\n\" which made us run in and fetch other\nweapons, not knowing what the matter\nwas, till we were informed of the dan-\n\" ger we might incur by pursuing it far-\n\" ther PADUA. SHROVETIDE 1646.\nHe leaves for Padua, after one last\nglimpse of Venice, and then he makes\nfor home, going slowly through Vicenza,\nVerona and Brescia; avoiding Parma,\nPiacenza, Mantua, and that whole route\nfrom a fear of banditti, (for, even in\n1 646, ' every day, people say, there's\na robbery in the park \"), making for Mi-\nlan in a roundabout way.\nAnd these banditti had no right to\nrob us of the records Evelyn would have\n\n(x) Coryat gives a fuller account of these mounte-\nbanks.\n(y) Evelyn does not give the name of these three\nnoble operas, but we know from Dr. Antonio Groppo's\nlist of Venetian performances exactly which theatres were\nopen in 1645 and 1646, and what was being performed\nin each. The theatres which are open in 1645 are the\nTeatro San Cassiano, Teatro SS. Giovanni e Paolo, and\nthe Teatro Novissimo. The theatres which are open in 1646\nare the Teatro SS. Giovanni e Paolo, and the Teatro No-\nvissimo.\n(z) A writer in \" Notes and Queries (1922) tells us\nthat four years later, (1650) Anna Rencia married Ales-\nsandro Leardini, d'Urbino \". Leardini was part composer\nof Rovetta's opera. \" Argiope \" produced 1649 at Teatro\nS. Giovanni e Paolo, Venice,\n(xx) This Genoese I have, so far, been unable to trace."}, {"page_pdf": 45, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 3528, "texte": "left us of the Teatro Farnese in Parma,\nand the Teatro di Corte in Mantua.\nStill, at Vicenza he halts to tell us about\nthe Teatro Olympico (Plate 1 6 figs. 1 &2).\nBut what he tells us is, alas, not quite as\nexact as usual. He is there on, or about,\nTuesday, March 27th. \"The next mor-\n\" ning, we visited the theatre, as being of\nthat kind the most perfect now standing,\n\" and built by Palladio, in exact imita-\ntion of the ancient Romans, and capa-\nble of containing 5,000 spectators. The\nscene, which is all of stone, represents\nan imperial city, the order Corinthian,\ndecorated with statues. Over the Sce-\n\" nario is inscribed, Virtuti Genio\nOlympior: Academia Theatrum hoc a\n\" fundamentis erexit Paladio Architect:\n\" 1584. The scene declines eleven\nfeet the soffito painted with clouds.\n\"To this there joins a spacious hall for\n\" solemn days to ballott in, and a se-\ncond for the Academics \".\nEvelyn errs about this theatre built\nby Palladio because, though he is giving\nmore time to Italy than Coryat gave, he\nis not giving quite enough time, nor paying\nquite enough attention to Vicenza. In\nthis, he is courteous to me, for if he had\nmade no mistakes, how could I show off\nmy scrap of wisdom ?\nHe notes with precision little facts\nabout the basset playing, for he has given\ntime to it ; and he is correct about Miss\nRencia (except for the way he spells her\nname) for he had paid her attention ; but,\nof the Teatro Olympico, he is incorrect\nin saying that it is \" an exact imitation\nof the ancient Romans \", and that it can\ncontain \" 5,000 spectators \", and that\nthe scene is \" all of stone \".\nIt is an imitation of nothing, and al-\nthough the works of Vitruvio have been\nwell studied by Palladio, the Italian has\nmade his theatre indoors, more than half\nof it with wood and stucco, and has\nsomehow or other managed to avoid all\nthe essentials and most of the details of a\ngood Roman theatre. The gradinata, or\nflight of steps on which the spectators sit,\nis taken from Serlio and others of that\ntime, who experimented in theatre buil-\nding. The idea of separate chairs for\neach spectator, and boxed-in places for\ngroups of four to eight, had not occur-\nred to anyone ; and in this, just so far\nand no further, is Palladio Roman. That\nhe uses arches, pillars and statues to adorn\nhis auditorium and stage, is no more Ro-\nman than Italian or Greek. What I\nwould insist on is that Palladio did not\nset out to build a Roman theatre, but a\nPalladian theatre. Doubtless he spoke and\nwrote much of Vitruvio, but his whole\naim was to create afresh, as freshly as\nwas possible for him ; and he was sur-\nrounded by a large group of academi-\ncians obviously obsessed by the ancients\nand their fine, but even then, dusty way\nof doing things, doubtless forgetful of the\npleasant trees and brooks, of Vicenza, and\nobsequious to the pushful princes of the\nyear 1560. So the pedants as usual have\nruined another good thing. As for 5,000\npersons being able to sit and stand to see\nthe play, we can place the number at\n3,000.... and we shall still be on the\nside of those who want to prove it a lar-\nger theatre than it i 5.... certainly larger\nthan it looks.\nThe space it occupies is quite small,\nand the way in which the architect has\nused every inch of his space is very re-\nmarkable.\nThe scene is principally of wood,\nbrick and stucco: very little stone is used.\nOn the stage, we find stone up to the\nlevel of our hip, but this only in the\n\n(yy) Ihe stage slope, the perspective, the Soffitto or\nceiling, can be seen in Plate 16, fig. 1."}, {"page_pdf": 46, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 1875, "texte": "proscenium. The seven streets shown in\nthe plan (Plate 16, fig. 2) are of wood\nand stucco. I speak after examining them.\nPatte, in 1830, writes in his \" Storia\ne Descrizione \" that \" questo edificio non\ne construtto alia leggiera, ma in pietra\nbella\"; and Milizia, 1768, Filippi, 1860,\nand Signorelli, 1813, indeed, most writers,\nseem for some unknown reason to be\nagreed that the scene is of stone or mar-\nble. This is all the more curious since\nMontenari, the best authority, had stated,\nin 1749, that \" questa gradini nel Tea-\ntro Olympico non sono di pietra.... ma\nson di legname.... le scene del nostra\nT eatro sono scene stabili disegnate in\nlegno e rilevate, e a vari colori di-\npinte \". (zz)\nEvelyn then goes to Verona where\n\" The first thing that engaged our atten-\n\" tion and wonder, too, was the amphithea-\n\" tre, which is the most entire of ancient\n\" remains now extant. The inhabitants call\n\"it the Arena : it has two porticos, one\nwithin the other, and is thirty four rods\nlong, twenty-two in breadth, with forty-\ntwo ranks of stone benches, or seats,\n\" which reach to the top. The vast-\nness of the marble stones is stupendous.\nL. V. Flaminius, Consul., anno. urb.\ncon. LIII. This I esteem to be one of\n\" the noblest antiquities in Europe, it is so\nvast and entire, having escaped the ruin\n\"of so many other public buildings for\nover 1400 years\nAnd now, in May, he comes to Mi-\nlan, which he speaks of as \"a sweet\nplace \" and which at this time contained\n40,000 inhabitants. Here he sees an\nopera. \" This afternoon \", he writes,\n\" we were wholly taken up in seeing an\n\" opera represented by some Neapolitans,\nperformed all in excellent music with rare\n\" scenes, in which there acted a celebrated\n\" beauty \".\nNow what was this opera, where\nperformed, and who the beauty ? Of the\nplace, all 1 have been able to discover is\nthat at this time there were only three"}, {"page_pdf": 46, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.46", "debut_caractere": 1946, "fin_caractere_exclue": 2436, "texte": "(zz) Translated: \" These step-seats (gradini) of the\nTeatro Olimpico are not of stone.... but are of w00d...,\nthe stage of our Teatro is a fixed scene ... designed in\nwood and relief (in plaster) and painted in various co-\nlours\nEvelyn has even got the inscription over the \" Sce-\nnario \" (as he calls it) wrong: the exact one being;\nVIRTUTI, AC GENIO OLYMPICORUM ACADEMIA\nTEATRUM HOC A FUNDAMENTIS EREXIT ANNO\nMDLXXXIIII PALLADIO ARCHIT. (II Forestiere istruito etc.\nO. B. Scamozzi, 1761)."}, {"page_pdf": 47, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 3140, "texte": "theatres. One was in the Ducal Palace,\nand one in the house of Messer Angelo\nLucchese in Via Rastelli and one in a\nhouse \" degli Incarnatini \" near Porta\nTosa. It is the actor Francesco Andreini\nwho, in 1624, refers to this last theatre\nin his \" Bravure del Capitano Spaventa \",\n(Venice).\nA plan of Milano (circa 1740), of\nwhich plate 1 7 shows the central part of\nthe city, marks clearly in the Ducal Palace\ntwo theatres; one for opera, that in Via\nRastelli, the famous and well-known buil-\nding of which some few rare engravings\nexist ; the other, a smaller building at the\nother corner of the Palace and near the\nDuomo. According to Brozzi there was\nalso a smaller court theatre (so they say)\nfor plays in Via delle Ore, but I can find\nno visual proof of the existence of this small\ntheatre. The first court theatre (whichever\none of these two it was), was built in 1598;\nI believe it to have been the smaller of the\ntwo. (Was this smaller built before\nthe larger one ?) It was about sixty braccias\nin length and about sixteen to twenty\nbraccias wide. In 1 740 it was considered\nuseless, but it still stood and was even in\nplace in 1763. All the historians seem\nto have overlooked this theatre.\nTo discover who was \" the celebra-\nted beauty \", we must enquire as to what\nactress-singer was then living. Isabella\nAndreini of the \" Fideli \" company died in\n1604 , so it could not have been she.\nIn May, 1605, the company of the\n\" Uniti \" seem to have received permis-\nsion from Don Juan Fernandez de Vela-\nsco Condestable of Castaglia to perform\nin Milan. In May, 1646, a like per-\nmission was granted to some company by\nthe same Condestable.\nIn 1646, on Monday the 30th. of\nApril, their actor Buffeto, and the actress\nDiana were in the state of Milan, passing\nwith their baggage and four or five per-\nsons with them, through to Paris.\nWas Diana the \" celebrated beauty \"\nLet him who has any beauty to spare\nwaste twenty years hunting for what is\nabsolutely of no importance. 1 hear Evelyn\ncalling, he is off, he is bidding\nfarewell to Italy.\nHe is obliged to leave Milan rather\nhurriedly, owing to an incident which he\ndescribes admirably, but which, as it has\nnothing to do with the Theatre, I will\nnot linger behind to retell. He is off.\nI catch him up at Castellanza and we\ngo sorrowfully out of this pleasant land,\nstopping but a moment or two at Arona,\nIsola Bella and Margazza ; where poor\nEvelyn, unable to get a horse, is obliged\nto straddle an ass, which he bridles with\na valuable \" Turkish bridle woven with\nsilk and curiously embossed with other\nsilk trappings \"—a present from a gentle-\nman, a great horseman, in Milan.\nThus mounted, he leaves Italy forever.\nBut as you will see when he reaches\nParis and London, and is obliged to listen\nto singing and to look at acting in these\nplaces, he is always well-nigh silent.... It\nwas so beautiful in Rome, and in Venice\nmore beautiful still: the fine Italian speech\nat the Umoristi in Roma.... the noble opera\nin Venezia.... the voice of Anna Rencia....\nhe seems to be thinking of all these as\nhe goes upward out of Italy into the\nmountains on the caparisoned ass.\nTo be continued"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c008", "article_bluemountain": "bmtnaau_1924-07_01#c008", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 15, "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=bmtnaau192407-01.2.6.1", "titre_corps": "Figure 1. – WALL PAINTING OF A PERSPECTIVE TO ENLARGE A ROOM OR COURTYARD", "titre_sommaire": "Figure 1. – WALL PAINTING OF A PERSPECTIVE TO ENLARGE A ROOM OR COURTYARD", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 126, "texte": "Figure 1. - WALL PAINTING OF A PERSPECTIVE TO ENLARGE A\nROOM OR COURTYARD.\nFrom “La Perspective Pratique” 1651. (2nd Edition)."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c009", "article_bluemountain": "bmtnaau_1924-07_01#c009", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 15, "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=bmtnaau192407-01.2.6.2", "titre_corps": "Figure 2. – JEU DE PAUME DE LA CROIX NOIRE", "titre_sommaire": "Figure 2. – JEU DE PAUME DE LA CROIX NOIRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.15", "debut_caractere": 128, "fin_caractere_exclue": 384, "texte": "Figure 2. - JEU DE PAUME DE LA CROIX NOIRE,\nFrom \" Plan de Paris \" Turgot. (1734-39).\nThe Jeu de Paume was between Rue des Barres and Quai St. Paul, and may be said\nto have been somewhere within that space stretching from the words “des\" to \"St.\"\nPlate 10."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c010", "article_bluemountain": "bmtnaau_1924-07_01#c010", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.6.3", "titre_corps": "Figure I. – PALAZZO MONDRAGONE, FRASCATI, SHOWING GARDEN AND THEATRE", "titre_sommaire": "Figure I. – PALAZZO MONDRAGONE, FRASCATI, SHOWING GARDEN AND THEATRE", "signature_source": "Rainaldi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 112, "texte": "Figure I. - PALAZZO MONDRAGONE, FRASCATI, SHOWING GARDEN\nAND THEATRE.\nFrom an Engraving by Rainaldi (1611-1614)."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c011", "article_bluemountain": "bmtnaau_1924-07_01#c011", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.6.4", "titre_corps": "Figure 2. – PLAN OF THE SENATE HOUSE, SIENA", "titre_sommaire": "Figure 2. – PLAN OF THE SENATE HOUSE, SIENA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.17", "debut_caractere": 114, "fin_caractere_exclue": 233, "texte": "Figure 2. - PLAN OF THE SENATE HOUSE, SIENA,\nshowing the position of the Theatre (star) built 1560. (Riccio).\nPlate II."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c012", "article_bluemountain": "bmtnaau_1924-07_01#c012", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "101", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.2.6.5", "titre_corps": "SHOWING THE PONT NEUF, AND THE HOTEL DE LAINCOURT IN THE RUE DE SEINE, WHERE EVELYN SAW THE CURIOUS PUPPET THEATRE", "titre_sommaire": "SHOWING THE PONT NEUF, AND THE HOTEL DE LAINCOURT IN THE RUE DE SEINE, WHERE EVELYN SAW THE CURIOUS PUPPET THEATRE", "signature_source": "Jacques Gomboust", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 252, "texte": "SHOWING THE PONT NEUF, AND THE HOTEL DE LAINCOURT IN THE RUE DE SEINE, WHERE\nEVELYN SAW THE CURIOUS PUPPET THEATRE.\nProm a Reproduction of the Plan of Paris by Jacques Gomboust, 1652, and reproducing Paris about the year 1649.\nEvelyn was there in 1644."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c013", "article_bluemountain": "bmtnaau_1924-07_01#c013", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "102", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.2.6.6", "titre_corps": "SHOWING FESTA GIVEN IN THE PIAZZA NAVONA, ROMA ON FEBRUARY 25, 1634", "titre_sommaire": "SHOWING FESTA GIVEN IN THE PIAZZA NAVONA, ROMA ON FEBRUARY 25, 1634", "signature_source": "F. Collignon", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 1259, "texte": "FROM A PLATE ENGRAVED BY F. COLLIGNON.\nSHOWING FESTA GIVEN IN THE PIAZZA NAVONA, ROMA ON FEBRUARY 25, 1634.\nEvelyn saw the Piazza as it is shown here if we omit the temporary Teatro. In this Teatro we see a “ Barriera ”\nbeing performed on a scale worthy of a great city. The inventer of the Teatro and the big ship seen in the right hand\ncorner was Francesco Guitti of Ferrara who also invented some of the songs. This same Guitti invented for the Carnival\nin Ferrara (1638) a stage with an interesting arrangement op steps leading down to the floor of the auditorium.\nSee Hammitzsch. pg. 35 for reproduction of copper plate showing the arrangement.\nEXPLANATION OF THE ABOVE PLATE:\nA. & B. TWO ENTRANCES OF TEATRO. H. TROOP OF EGYPTIANS. Q. PALACE OF THE PRINCE OF MASSA\nC. POSITION OF THE MANTENITORE. I. TROOP OF SCYTHIANS. R. MARCHESE MALATESTA MASTER OF\nD. TROOP OF FOUR CAPTIVE KINGS. L. PALACE OF DUKE GIOV. ANT. ORSINI. THE FIELDS.\nTHE VASCELLO OR BOAT.\nE. TROOP OF ROMANS. M. BOX OF THE JUDGES T BOX OF DON PROSPERO COLONNA\nF. TROOP OF PROVENZALI. N. BOX OF PRINCESS D ANNA COLONNA. V CHURCH OF SAN JACOMO DELLE SPAG.\nTROOP OF ROMANS DETTA LA PER- O. BOX OF THE LADIES. GNUOLI\nTINACE. P. PALACE OF THE MILLINI. X. CARDINAL BARBERINI'S DWARF.\nPlate 12."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c014", "article_bluemountain": "bmtnaau_1924-07_01#c014", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.6.7", "titre_corps": "DESIGN FOR A COURT THEATRE IN MANTOVA 1676", "titre_sommaire": "DESIGN FOR A COURT THEATRE IN MANTOVA 1676", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 78, "texte": "DESIGN FOR A COURT THEATRE IN MANTOVA 1676.\n(F. C. Motta architect.)\nPlate 13."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c015", "article_bluemountain": "bmtnaau_1924-07_01#c015", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "105", "image_debut": 29, "image_fin": 29, "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=bmtnaau192407-01.2.6.8", "titre_corps": "The Piazza di Spagna, where Evelyn Lodged in Rome", "titre_sommaire": "The Piazza di Spagna, where Evelyn Lodged in Rome", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.29", "debut_caractere": 2670, "fin_caractere_exclue": 2797, "texte": "The Piazza di Spagna, where Evelyn Lodged in Rome:\nfrom Nolli's Plan: 1748. The Steps or Scala di Spagna\nwere added in 1721-25."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c016", "article_bluemountain": "bmtnaau_1924-07_01#c016", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 31, "image_fin": 31, "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=bmtnaau192407-01.2.6.9", "titre_corps": "Figure I. – Journey from Florence to Rome", "titre_sommaire": "Figure I. – Journey from Florence to Rome", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 42, "texte": "Figure I. - Journey from Florence to Rome."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c017", "article_bluemountain": "bmtnaau_1924-07_01#c017", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 31, "image_fin": 31, "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=bmtnaau192407-01.2.6.10", "titre_corps": "Figure 2. – Journey from Milan to Venice", "titre_sommaire": "Figure 2. – Journey from Milan to Venice", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.31", "debut_caractere": 44, "fin_caractere_exclue": 137, "texte": "Figure 2. - Journey from Milan to Venice.\nTWO MAPS ILLUSTRATIVE OF EVELYNS TRAVELS.\nPlate 14."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c018", "article_bluemountain": "bmtnaau_1924-07_01#c018", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 33, "image_fin": 33, "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=bmtnaau192407-01.2.6.11", "titre_corps": "SCENE FROM AN ENGRAVING BY JACQUES CALLOT showing the first Intermedio during the Callot performance of the “ Liberatione di Tireno ” the Theatre of the Salle delle Commedie, Firenze, 1616. The production was by Giulio Parigh with whom Callot was then studying. The central figure of the dancers is Cosimo II Grand Duke of Tuscany", "titre_sommaire": "SCENE FROM AN ENGRAVING BY JACQUES CALLOT showing the first Intermedio during the Callot performance of the “ Liberatione di Tireno ” the Theatre of the Salle delle Commedie, Firenze, 1616. The production was by Giulio Parigh with whom Callot was then studying. The central figure of the dancers is Cosimo II Grand Duke of Tuscany", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 341, "texte": "SCENE FROM AN ENGRAVING BY JACQUES CALLOT\nshowing the first Intermedio during the Callot performance of the “ Liberatione di Tireno ”\nthe Theatre of the Salle delle Commedie, Firenze, 1616. The production was by\nGiulio Parigh with whom Callot was then studying. The central figure of the dancers\nis Cosimo II Grand Duke of Tuscany.\nPlate 15."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c019", "article_bluemountain": "bmtnaau_1924-07_01#c019", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 39, "image_fin": 39, "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=bmtnaau192407-01.2.6.12", "titre_corps": "Figure I. – Elevation and Section, showing the Stage stope, and \"Soffitto\" or Ceiling", "titre_sommaire": "Figure I. – Elevation and Section, showing the Stage stope, and \"Soffitto\" or Ceiling", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 88, "texte": "Figure I. - Elevation and Section, showing the Stage stope, and \" Soffitto \" or Ceiling."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c020", "article_bluemountain": "bmtnaau_1924-07_01#c020", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 39, "image_fin": 39, "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=bmtnaau192407-01.2.6.13", "titre_corps": "Figure 2. – Ground Plan, showing the seven Streets", "titre_sommaire": "Figure 2. – Ground Plan, showing the seven Streets", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.39", "debut_caractere": 90, "fin_caractere_exclue": 209, "texte": "Figure 2. - Ground Plan, showing the seven Streets.\nTHE TEATRO O LIMP ICO, VICENZA ; BUILT BY PALLADIO, 1584■\nPlate 16."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c021", "article_bluemountain": "bmtnaau_1924-07_01#c021", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau192407-01.2.6.14", "titre_corps": "MILANO", "titre_sommaire": "MILANO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.41", "debut_caractere": 16, "fin_caractere_exclue": 25, "texte": "Plate 17."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c022", "article_bluemountain": "bmtnaau_1924-07_01#c022", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "114", "page_fin": "114", "image_debut": 46, "image_fin": 46, "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=bmtnaau192407-01.2.6.15", "titre_corps": "ANFITEATRO DI VERONA", "titre_sommaire": "ANFITEATRO DI VERONA", "signature_source": "G.B. Piranesi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.46", "debut_caractere": 1877, "fin_caractere_exclue": 1944, "texte": "ANFITEATRO DI VERONA.\nFrom an Etching by G. B. Piranesi. 1720-1778."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c024", "article_bluemountain": "bmtnaau_1924-07_01#c024", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "118", "image_debut": 48, "image_fin": 50, "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=bmtnaau192407-01.2.7", "titre_corps": "A PROPOSAL", "titre_sommaire": "A PROPOSAL", "signature_source": "WILLIAM MARCHPANE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 1593, "texte": "A PROPOSAL\nBY WILLIAM MARCHPANE.\nI was standing under the immense portico of\nthe Teatro Carlo Felice (a) in Genova, held\nup by its great marble pillars from Carrara.\nWhat is it that is so good about this,...\nwhat is this sense of space and loftiness worth?\nto me something I will not attempt to explain\nbecause already sufficiently explained by great\npoets for some several hundred years. But to\nothers ? To a hundred, say even three hundred\nwho will be passing under this portico between\nthis evening and tomorrow midday and it is\na public way this sense of the lofty lines and\nthe space within the lines may count; ....to no\nmore. And certainly not to those three gen-\ntlemen who are now passing me. Three mer-\nchants,... an automobile manufacturer, a tyre-\nmaker, and a cloth merchant.\nThree able men with every excellent quality\nand quite without a scrap of imagination. Men\nwho are useful, ....and there an end.\nBorn to be employed, to be told what to\ndo and to carry out a difficult order admirably,\nthey have by some odd trick of chance come to\nbe giving the orders and others put to the execution\nof 'em. And these three big able fellows receive\nnot the least impression as they pass along under\nthis portico, between these mighty pillars.\nWhen it comes to them deciding upon the\nbuilding of the new Theatre next year ....or\nwhenever the hour arrives.... they will have no\nthought of pillars with them; and if the architect\nemployed (and a mild one will be set on to\nthat work, no architect of power and value\n\n(a) On Page 45, col. 1. V 01.9 of \"\nshowing this The aire and its pillars."}, {"page_pdf": 49, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1509, "texte": "being known to them or they to him), ....if\nthis mild architect should dream* of suggesting\nsome big pillars, these will be cut out\nNo money for pillars; no space for pillars; no\nsense in pillars.\nBut no sense for pillars would be more\ncorrect.\nNow it seemed to me as I stood there that,\nif only a sound commercial reason could be\nfound for the use of pillars once more, the ar-\nchitecture could be saved.\nI went nearer to one of the pillars. And\nit seemed to me, as I looked at it, that I had\nfound the right use and away to convince\none of the three merchants that it would pay\nhim and Well —to insist on pillars.\nFor who but a rich merchant would pay\nfor such useless things as pillars ?\nBut a rich merchant is no tool. He would\nwant to see money in the pillars. I would\nshow him money and more. —As he is a\nhuman being I would show that these pillars,\nbesides paying him all the year round, would\npay his sons and his sons' sons, provided they\ncept at the business.\nHe would have to be a motor tyre manu-\nfacturer.\nAnd this is what I should say as I led him\nup to a full-sized model of the pillars to be:\nI would say, 51 See there, close to your\nboots 11; he would look down 11 a pneu-\nmatic tyre lying down and a fluted column\nstanding on it. I intend to engrave the words\nBRIGHT'S UN-SLIP-ABLE TYRES around this bul-\nging bit, -....the architects call it by the silly\nname of Torus.\nOn the fluted column would be added year\nby year a mark cut in the marble. \"Up\nhere indicating where his knee came would"}, {"page_pdf": 50, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.50", "debut_caractere": 2092, "fin_caractere_exclue": 3273, "texte": "be a mark cut and the words \" 33,000,000 tyres\nwere made and sold from the day this column was\nerected, until now, January MDCCCCXXVII\".\nThese words would be engraved in large\nRoman letters.\nFurther up, some two feet or so, and after\nfour years had passed, would come a second\nsuch mark and also cut the Roman letters say-\ning \" 48,237,202 more tyres were sold by\nJanuary MDCCCCXXXIII\nProbably things would have advanced in the\nworld in those four years and we should be\ninclined to add \" signed Josephus Bright \". And\nat each succeeding four to six years a new\nrecord would be cut in the pillar.\nIn 150 years the pillar would be full and\nwe would commence on pillar No. 2 at the\nother side of the collonade.\nThus, while the firm lasted, an eternal ad-\nvertisement would be rising, living art indeed,\nbefore the population ; and, when the firm\nended, and the ages had rolled by, some ar-\ncheologist would come along and read the writing\nand declare that the words signified most important\nevents in the reigns of King George and his\nSuccessors.\nThis is the sole chance I see for theatres\nto be erected in this age on a grand scale, and\nwith pillars, by famous merchants of our day."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c027", "article_bluemountain": "bmtnaau_1924-07_01#c027", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "118", "image_debut": 49, "image_fin": 50, "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=bmtnaau192407-01.2.8", "titre_corps": "GOETHE WRITES TO SCHILLER : (AUGUST 17. 1797)", "titre_sommaire": "GOETHE WRITES TO SCHILLER : (AUGUST 17. 1797)", "signature_source": "G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.49", "debut_caractere": 1511, "fin_caractere_exclue": 3842, "texte": "GOETHE WRITES\nTO SCHILLER.\n(AUGUST 17. 1797).\n\nYESTERDAY I was present at a\nrepresentation of the opera Pal-\nmira, which, taken as a whole, was\nvery well and properly given.\nWhat especially pleased me was that\nI had a good opportunity of examining\none part of it most thoroughly, namely,\nthe scenery ; it is the work of a Mila-\nnese, Fuentes by name, who is at\npresent living here.\nThe great difficulty as regards scenic\narchitecture is that one must have a\nknowledge of the principles of genuine\narchitecture and yet be able to deviate\nfrom them in order to attain the end\nin view.\nArchitecture, in the higher sense,\nought to have an earnest, lofty, and\nsteadfast character and expression—it\ncan scarcely attend to what is graceful\nwithout becoming weak—and yet upon\nthe stage everything has to present a\ngraceful appearance. Theatrical archi-\ntecture should be light, ornamental, and\nvaried, and yet should at the same time\nrepresent the gorgeous, the lofty, and\nthe noble. The decorations, especially\nof the background, ought in fact to be\ntableaux ; the scene-painter has to go\na step further than the landscape-pain-\nter, who must also understand how to\nmodify architecture according to his\nrequirements,\nThe scenic decorations to Palmira\nfurnish instances from which the rules\nof scene painting might be deduced ;\nthere are six scenes which follow one\nanother in two acts without any single\none being repeated ; they are designed\nwith judicious variety and gradation.\nOne sees from them that the artist\nis acquainted with all the resources\nof genuine architecture, even when he\nbuilds as never would or should be\nbuilt ; everything retains the semblance\nof possibility, and all his constructions\nare based upon the idea of what is\ndemanded by reality. His ornamentations\nare very rich, but applied and distri-\nbuted with genuine taste.\nIn the case of the artist in ques-\ntion we have an example of the great\nstucco-school which exists in Milan,\nand of which a knowledge can be got\nfrom the prints of Alberiolli. All\nproportions tend to what is slender, as\ndo likewise all the figures, statues, bas-\nreliefs, and painted lookers-on ; the\nexcessive length and powerful gestures\nof many of the figures are not mere\nmannerism, but have been required to\nbe thus by necessity and taste. The\ncolouring is faultless, and the style or"}, {"page_pdf": 50, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2090, "texte": "ik'.L.ibtaaii'Se ap.V«Se It.\ntrivances, ail the charms of masses ar-\nranged according to tne different points\nof direction. The several parts are\nperfectly distinct and clear without\nbeing hard, and the whole is most\nadmirably consistent. One perceives\nin the endless details the result of the\nstudies of a great school and the\nknowledge which has been acquired\nby several generations of men, and it\nmay doubtless be said that this style of\nArt is here brought to its highest\nSb »d .hatehu'S\nis despaired of 0).\n1 will see that what 1 have here\ngiven as a mere hurried sketch shall\nbe arranged and worked out in a\nbetter manner.\nWHAT penetration Goethe brings\nto this section of the stage work\nhe had undertaken.... even as he did\nto his philosophical and scientific\nstudies.\nHe searches to know a little more,\nand only speaks when he has come\nto know ;—and Schiller actually does\nnot reply \" Yes, my dear Fellow, but\nwhat about the Union of Scene pain-\nters ? M\n(i) This Milanese of whom Goethe\nwrites was Giorgio Fuentes or Foentes,\nwho from 1794 to 1796 was working for\nLa Scala in Milano. In 1805 and 1815\nhe was still in Milano and seems to have\nhe en alive in 1827. Considering that\nFrankfurt was led to despair of his life,\nhe managed to put up something of a\nfight for thirty more years ; but in Italy ;\nin no colder place.\nI almost see and hear Fuentes and\nGoethe talking in Frankfurt. li Come\nto Weimar \" says the eagle in his impe-\nrial way, \"you shall paint scenes forme\nin my Theatre there\n41 Winter scenes $ \" asks the rondine.\ndevotee of the stimmer and the sun.\nGoethe, believing, in his immense inno-\ncence, that a painter will freeze for the\nsake of canvasses in white and grey, re-\nplies, 44 Scenes frosty and sublime \".\ni( Caro Signor Goethe, how willingly\nwould 1 come to Weimar, ...for I would,\nif the Gods allowed it, paint scenes for\nyour divine masterpieces and none other.\nBut it may not be. I am, alas, near unto\ndeath's door: I date no longer Ibiger:\nI return to see Milano once more and to\ndie \".\nTruly, it is incredible what people\nsee in the sun of Italy.\n\nG."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c029", "article_bluemountain": "bmtnaau_1924-07_01#c029", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 51, "image_fin": 51, "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=bmtnaau192407-01.2.9", "titre_corps": "ELEONORA DUSE", "titre_sommaire": "ELEONORA DUSE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 46, "texte": "ELEONORA DUSE.\nBorn 1859: Died 1924.\nPlate 18."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c030", "article_bluemountain": "bmtnaau_1924-07_01#c030", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "119", "page_fin": "119", "image_debut": 53, "image_fin": 53, "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=bmtnaau192407-01.2.10", "titre_corps": "THE CHARACTERS OF SHAKESPEARE", "titre_sommaire": "THE CHARACTERS OF SHAKESPEARE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 1373, "texte": "THE CHARACTERS OF SHAKESPEARE.\nCharles Lamh and S C.,\nSchlegil and Dowden and Sidney Lee—\nThey one and all of me\nTo take too hard\nThe work °f &e Bard.\nSimpler modes appeal me.\nReturn we to simpler modes.—M. B.\nThere once was a king named Macbeth ;\nA better king never drew breath;\nThe faults of his life\nWere all due to his wife,\nThe notorious Lady Macbeth.\nNo doubt you have heard of Othello—\nAn African sort of a fellow.\nWhen they said \"You are black! 4\nHe cried n Take it back!\nI am only an exquisite yellow n.\nI cannot help feeling that Lear\nAt the end of his splendid career,\nWhen he strolled in the teeth\nOf that storm on that heath,\nWas—well, just a little bit \" queer\nHamlet, I'm sorry to find,\nWas unable to make up his mind;\nHe shillied, he shallied,\nHe dillied, he dallied—\nIn fact, he was over-refined.\nThen Cymbeline. How about Cymbeline ?\nYou could hold in a cup — in a thimble, e'en—\nAll that is not\nSheer downright rot\nIn Shakespeare's presentment of Cymbeline.\nThe doings of Coriolanus\nShall not for one moment detain us.\nIt's clear that we can't\nAnd we won't and we shan't\nBe bothered with Coriolanus.\nHats off, however, to Romeo—\nOne o' the Montagues, don't-you-know;\nAnd we mustn't forget\nThat dear little pet\nOf the Capulet set,\nJuliet,\nWho asked him why he was Romeo.\nThese simpler modes appeal to me,\nThough very repellent C.,\nMy dear old neighbour —"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c032", "article_bluemountain": "bmtnaau_1924-07_01#c032", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "120", "page_fin": "123", "image_debut": 54, "image_fin": 57, "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=bmtnaau192407-01.2.11", "titre_corps": "TO NEARLY ALL OF US OF THE NEW MOVEMENT:", "titre_sommaire": "TO NEARLY ALL OF US OF THE NEW MOVEMENT:", "signature_source": "OURSELVES", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4007, "texte": "TO NEARLY ALL OF\nUS OF THE NEW MOVEMENT:\nBY OURSELVES.\nTHE Theatre is CHEAP. It is still as\ncheap today as it was in 1900 although\ngreat efforts have been made by many theatre\nworkmen to make their work finer.\nTo restore values great changes are more\nnecessary than ever. But great changes.\nIt is not a small defect, this cheapness of\nTheatrical work.\nTheatrical work can be and shall be as\nfine in quality as any other work ; but to make\nit so we must look quick about it and lay our\nplans to that end. Too many of the new\nyoung critics with their emotional outpourings\nabout the work their gush about Bernhardt\nand Marie Lloyd and a half-dozen fairly good\nperformers help to cheapen what is quite\ncheap enough as it is.\nYou disdain the lead given you by the\nbest brains in the Theatre and are happy and\nhonoured to act the page to an actress ; you\ncarry her long tail with a certain page-like\nmock dignity.\nCarry it by all means one hour more:\ndon't drop it; but do clear off the stage and\nthat rapidly.\nMake room for men younger than you can\never be; men who have not been brought up on\nwhat Giuliotti calls \" cristianesimo coldcream\".\nYou are not well, it seems. You take things\neasily as though you were tired : as you pos-\nsibly are. Make room then for men who are\nnot tired.\nYour standard of theatrical art is the\nlowest: you are still in the gushing stage.\nIf you have no convictions that is really not\nat all surprising, for you are far too clever\nto have any.\nThe actors too. The playwrights, the\nscenic men, with some rare exceptions, all\nare cheapening the work seen on the stage.\nAs the standard set by Irving is no longer\nbefore you, you can easily afford to praise\nhim (or rather yourselves for your veneration\nof and affection for him), while doing work\nthe quality of which he would have considered\neighth-rate. As for any higher standard than\nthat set by Irving let us say Shakespeare's\nown standard you seem unaware of its\nexistence.\nIf the values of the stage matter at all to\nyou, if it matters what is performed and how\nit be performed, make this more evident.\nWhat seems to matter more to you is your\npercentages and salaries. Authors, actors, cri-\ntics are all alike in this : all but a handful.\nTHEN it is to the handful that we address\nourselves. Trundle the others off the\nboards we beg of you : have no further dea-\nlings with them and prevent the stage being\ncheapened.\nYou are not making way: you are not\npushing the cheapeners out sufficiently firmly:\nsome of you say your say: we have heard\nyou : you show courage and often. The most\ncourage is shown by the women. But now\nyou must begin to do something. You are\nunhappy about the way things are going. But\nwhat can you do? you ask.\nYou can, to begin with, entirely change\nthe stage. That to begin with.\nOf the drama we do not speak.... but of\nthe stage. You think it an overwhelming\ntask, and yet we know you to be courageous.\nWe will tell you where we think you fail\nand what you could do to begin things seriously.\nUnite and follow your leaders.\nDo not huddle one on the heels of the\nothers, all talking, all eager to show courage,\nand what you each can do. No one doubts\nthat you possess spirit and talent. But you\nmust show what they are worth. Not by rushing\non but by steadily holding back.\nAllow one man to speak for you; back\nhis word; do as he says ; follow his lead ;\nand keep following it and be steady. Then\nyou will win; then you will restore to the\nstage its old values.\nAnd if you like \" The Mask \" will give\nyou that lead. But \" The Mask \" cannot\ndrag you on.\nWhen men of purpose, even it they lack\nan objective, unite, it denotes at any rate that\nseriousness, without which, no changes can be\nmade, no values restored, no cheapness driven\naway.\nUnited to some serious end, be it what-\never it may, and a leader chosen, you will\nthen see how serious you all are, and how\nunited.\nThe first thing you should refuse to do\nwould make it clear that you are still the old\ngang. It's not gangs the European and Ame-"}, {"page_pdf": 55, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 3953, "texte": "ncan Theatres need any more: it is two united\nbodies of men that are needed, European\nand American.\nDo you doubt it ? and you harrassed, per-\nplexed month by month about the work. How\nmany are the insoluble puzzles. Never do\nyou take part in a production but up glide\nsix or seven puzzles and begin to strangle you.\nTWO moments' pause to say we are not spea-\nking to any but artists be they dra-\nmatists, actors, stage managers, scenic men\nand the best assistants in the staffs.\nWE are not tired are you ?\nWhen in 1908 we began to speak about\nthese things, these perplexing obstructions which\nlittered the way towards a new Theatre, we\ndid not mean that they were mere trifles to\nbe solved by a hundred more productions\ndone a bit better. You have done many pro-\nductions and done them more than a bit\nbetter.\nDo you suppose we did not credit you with\nthat amount of ability ? Believe us, we knew\nquite well how brilliant you could be.\nBut that is not the point.\nThat was not what was either doubted\nor counted on. And we think you have come\nto see now that after a ten years' fling at\nTheatricals you are just where you were with\nsome ten years' experience added.\nSince you were willing to listen to us we\nlong ago suggested more steadiness.\nBut there you did not quite follow us.\nAfter these ten years we again suggest the\nsame thing more steadiness,\nWhat do we mean ? we will attempt to\ntell you.\nWhen a dangerous thing is undertaken by\na large group of men say the overthrow\nof tyrannical usurpers of power, (call them\nwhat you will, communists, anarchists, aristo-\ncrats, plutocrats or any other name which\nexpresses what you consider tyranny) and the\nreestablishment of order and- a fair chance to\nanyone who has something in him, this large\ngroup of men allow themselves to be led :\nthey follow the more serious and more capable,\nwho, in turn, elect and follow a leader.\nNo one acts for himself because he knows\nthat to do so may imperil the safety of the\nothers.\nThat is what is being steady.\nThey work, they advance, together. Were\nthey to advance singly each one would be\nbefore long dragged down, as (with sorrow,\nbut without mincing matters) we assert you\nhave been dragged down.\nYou will be dragged down and dragged\nright in to the old and false order of Theatre\nconditions if you cannot stop what you are\nnow doing and look around you.\nWhat was it you wanted ?\nA new Theatre wasn't it ?\nWhat is it you've achieved ?\nThis. You have done what we did: brought\nideas into the old Theatre ; these have been\nconsiderably cut, trimmed, recut, altered in\nshape, feeling, purpose, all: some remnant\nof what you dreamed has been preserved....\nand that remnant has been hailed by the\nmoney-makers and the stalls and boxes and\ndress circles as glorious. We have heard them\ntalking, these people who do not care. Wher-\never we have been strangers have come to us\ntelling us of how marvellous, how amazing\nan artist you are.\nWe know what you thought,\nWe knew what had happened to your\nideas, your work, your most ordinary practical\nsuggestions.\nIt would have been useless to tell these\nmouthy and excited nincompoops what we\nthought.\nYou were over in America or in Berlin\nor Paris or in our own London: until we\ncould get once more into touch with you we\ncould barely even convey to you the upper-\nmost thoughts about all these doings and chat-\nterings; until we could actually see and speak\nwith you we could not come to anything worth\nwhile.\nThat is where we are n0w.... and even\nhere .... although this shall reach you somehow.\nAnd yet how, when you read this, will you\neven then come to know what we mean by\nsteadiness ?\nWe cannot give the show away in front\nof the audience.\nBut there is away to begin. You in\neach of these lands are able to get together\nand know one another. You can actually\ntalk together.\nAnd there is such a thing as the telegraph\nand the post.\nWe write for and to you month by month\nand have done so for ten years now, or lon-"}, {"page_pdf": 56, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4013, "texte": "ger. But we hear too seldom from you.\nThough we hear from people far and near\nthat does not mean that we hear from enough.\nMoreover, we not only want to hear: we\nwant to see things done.\nThey are not being done so far as we can see.\nWe see, let us say, X.... beaten down at\nBergamo. Why? Solely because, while united\nto us all by all the ties we artists understand,\nthere is no practical clearly defined unity.\n\" What, an organized unity; is that what\nyou propose ?\n\" Assuredly \".\n\" But what about ' sack the organizers ',\nstop organizing create \" in Volume 9 of \" The\nMask \"?\nOn which let us have a word.\nFirst of all didn't you find \" sack the or-\nganizers \" good fun? Mustn't we keep the\nfun going anyhow. We thought the suggestion\nin \" The Mask \" to sack the people who\nsack us quite in style. No?\nAnd as for stopping organizing, by that we\nsurely took \" The Mask \" to be addressing\nthe incompetents who are always organizing\nlittle societies amateur companies Little\nTheatres little journals and the rest.\nThat they should stop all that and get to\nthe difficult task of pronouncing vowels cor-\nrectly, and drawing straight lines, would\nmean for them the nearest possible thing to\ncreating something someday.\nBut \" The Mask \" does not address itself\nto the same type of man all the time. It is\nright we suppose in believing that you will\nknow when and where you are addressed.\nAs you are here. You the artists, and\nnone others yet.\nAnd to you most assuredly and most se-\nriously we suggest that plans for a genuine or-\nganization be prepared without any delay\nwhatever, and without any haste.\nAn organization to what end?\nFirst of all to unite us all.\nSecondly to bring us all together.\nThirdly to chose our leaders.\nFourthly, to follow these.\nAnd this will bring us the new Theatre ?\nAssuredly not.\nBut it will bring us it.\n€J We are all a strange group of con-\ntrary natures, opinions and gifts.\nThese could be better combined than they\nare now.\nThere are the so-called Idealists who\nwant the Kingdom of Heaven at a blow\nso they are described by the good Barker.\nThen there is Appia; there is Stani-\nslawsky and his company; there is Reinhardt\nand his group; Gessner and his; your Ame-\nrican groups, the Guild, Equity, and the\nothers: the Italian groups, (for the moment we\nare not including playwriters, not out of any\ndisrespect but for practical reasons). Then in\nRussia the Kamerny company: then Isadora\nDuncan, Yvette Guilbert, our two great ladies,\n.... the only two great ladies still in the\nfield.\n(We have been slow or we would dearly\nhave loved we could say three. Cannot you\naid us that no more time be lost!).\nThen there is the admirable Copeau and his\ngroup. And others are to be found in Paris....\nnot Frenchmen. And in Switzerland and\nGermany not a few; in Holland too ; and in\nIreland of course.\nWho knows may be in old Scotland.\nOf England we will not speak, except to\nname Barker and Poel, in passing; and\nthey are not at work. If men of spirit exist\nin the work which the rest of us have already\nproved we are devoted to, we see none in En-\ngland.... We hear none. We see and hear too\nmuch denial there.\nIS that too sharp ?\nSome day we may tell you the story of a\nvisit paid by one of us to London and of\nactors spoken with.\nEngland can and may any day reassert its\ncapacity to see and speak.... to hear and\nspeak.... to not avoid all tasks. At present\nmen we thought able to express something, and\nmore able to attempt difficult things, all shirk\nthese and become humdrum and are forced\nto agree with the moderates who wish only\nto pull them well down, net them, and render\nthem useless.\nThe Old Vic ?... well, we don't respond\nto the Old Vic for we have never heard from\nan Old Vic-ite or seen one. Were we to\nsee their work doubtless we could value\nit. Would the Old Vic ally itself to anyone\nor anything for the sake of the Cause we all\nhave at heart a New Theatre?\nAnd now lest we too easily poohpooh\nthis same Old Vic, what of the others?\nOf you first, then of Appia, of Isadora, of"}, {"page_pdf": 57, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 415, "texte": "Yvette, of Stanislawsky, Reinhardt; do you\nsee all these uniting?\n\" We'll say neither Bo nor Ba \" as the Man\nfrom Gotham put it, but we leave it to you.\nBut what we will venture to say and repeat\nlest there remain a doubt, is, that until these\ncan unite, and until we all can unite, nothing\nserious can be done; nothing valuable can\nbe restored or added to the old Theatre\nno New Theatre can possibly come to exist."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c034", "article_bluemountain": "bmtnaau_1924-07_01#c034", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "129", "image_debut": 57, "image_fin": 63, "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=bmtnaau192407-01.2.12", "titre_corps": "TWO AMERICAN THEATRE MAGAZINES : \"THE THEATRE MAGAZINE \"THE THEATRE ARTS MONTHLY", "titre_sommaire": "TWO AMERICAN THEATRE MAGAZINES : \"THE THEATRE MAGAZINE \"THE THEATRE ARTS MONTHLY", "signature_source": "JOHN SEMAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.57", "debut_caractere": 417, "fin_caractere_exclue": 3726, "texte": "TWO AMERICAN\nTHEATRE MAGAZINES.\n\"THE THEATRE MAGAZINE\n\"THE THEATRE ARTS MONTHLY\nBY JOHN SEMAR\n\nAMERICA has made immense efforts these\nlast ten years, to shake itself free from\nthe humbug which prevents the development\nof its Theatre,—that humbug which resembles\nthe European growth as one ear of the ass\nis like the other ear.\nAnd if certain centres like New York keep\nus only too well informed that the humbug in\nthat city is as prominent as ever it was, this is\ndue in great measure to the admirable Theatre\nMagazine edited by Mr Hornblow, number\none of the two above-named publications.\nThose of our readers who know the\n\" Theatre Magazine \" with its photographic\ndisplay of Moeller or Morgan dancers, know\nthat the \" Theatre Magazine \" is quite sincere\nin its protests against \" Obscene Broadway\nShows which must stop \". These protests ap-\npear regularly in its columns.\nIt is not to be doubted for a moment but\nthat Messrs Meyers's handsomely printed Ma-\ngazine is all for good : all for good art; all\nfor the best artists.\nNo one could possibly assert that it is out\nto make money; that its desire is not to get\nthings better.\nThe very covers themselves demonstrate\nthe fact of this aim and the precise extent of\nachievement.\nThe December number for 1923 is be-\nfore us. Could anyone say that the picture\nof the girl on the cover in what appears to\nbe three to five colours is anything but the\nvery highest art? We ask? Its healthiness\"is\napparent, is it not ? Added to this it is a dis-\ntinguished piece of colour-printing: or are we\nmistaken ?\nYet someone only yesterday picked up\nthis journal and ridiculed the whole thing be-\nginning with these smooth coloured covers,\nsaying that it was a tenth-rate affair from every\npoint of view.\nYet what are its contents ? Let us turn\nthe pages.\nTo begin with it consists of 76 pages.\nOf these some 51 are filled with letter-press\nand photographs and a few sketches ; nearly\nall the rest are advertisements. Now 30 pages\nof advertisements out of 76 pages of maga-\nzine leaves not a bad balance.\nThe odd 50 pages contain six leading\narticles.\n1. The Sewer on the Stage.\n2. What we are looking for, by Four\nTheatrical Managers.\n3. In Search of an American Siddons.\n4. Vices and Virtues of the American\nTheatre.\n5. Broadway's King of the Chorus.\n6. Ballyhooing the Burlesque Business.\n\" The Sewer of the Stage\" by Mr\nSumner is written with the direct purpose of\nuplifting the City of New York, and pro-\ntests very forcibly against the plays which the\nNew York managers, we suppose, are produ-\ncing, and which have received good notices\nin the New York journals and possibly in\nMessrs Meyers's \" Theatre Magazine \".\nIt protests no less forcibly against \" pictures\nof half naked stage beauties\" which the\nnewspapers and magazines print. This is on\npage 9. On the page facing this, page 8,\nis a large page reproduction of \"The Graces\",\nfour girls certainly half naked, four members\nof the Moeller Dancers.\nSo here you see the tendency of the ma-\ngazine. It is obviously to give an illustra-\ntion of the very thing Mr Sumner protests\nagainst, so as to show that he is quite cor-\nrect in what he asserts.\nThe next article is written by Mr Belasco,\nMr Woods, Mr Miller and Mr Hopkins,\nfour celebrated managers of New York Thea-\ntres. They say what they are looking for."}, {"page_pdf": 58, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4279, "texte": "Mr Belasco, the doyen of the Managers,\nsays he is looking for plays, and admits that,\nwhile he is \" generally engaged in writing a\nplay \" of his own, he also \" assists by advice\na number of young writers who submit ideas\nor plots \" which impress him \" as capable of\ndevelopment into good plays\". That's all\nright. It's what Shakespeare did, and most\nother playwriters dislike doing. It's what\nDumas did. He adds that he always tries\nto get \" material adapted to the special re-\nquirements \" of his star performers.\nThis he admits is why he has to do so\nmuch altering, He winds up by saying that\nit is often an artistic joy to him to indulge\nhimself and put on a play which wont pay.\nMr Belasco is well known, has done good\nwork, is a picturesque figure, and to know\nwhat he is looking for is satisfactory.\nMr A. H. Woods is on the other hand\nunknown to us of \" The Mask \". Yet his\nfirst sentence helps us to know him a little.\n\" I have no sympathy for or interest in aspi-\nring playwrights or aspiring anything\". It's\nbadly put, but it's modest.\n\" I want plays that interest me \" he goes\non. What sounder common sense ? And\nthere are people not alone in Europe but in\nthe States who assert that American theatrical\nmanagers have too refined senses and not\nenough hard-headed practicality.\n\" I am receptive to the emotion the\nscript can give me \"; this is his third state-\nment : adding, \" I bought (by wire) \" Kick\nIn \" on the strength of a fifty word scenario\nsent me from Los Angeles \"—which seems\nby every rule of the game to breathe common\nsense.\n\"I bought 'A Voice in the Dark' the\nsame way. The telegram in this case did\nnot even give me the complete scenario; it\nmerely suggested an idea which I thought\nnovel enough to take a- chance on \".\nThe future of the American Drama seems\nassured if only more such managers as Mr\nA. H. Woods can come into power.\nMr Gilbert Miller is the next to step for-\nward and gives away the secret of what he\nwishes, what he is \" looking for \".\n\" I do not know that 1 can truthfully say\nat any one time that I am looking for any\none or any several certain things \".\nNow at the first glance we recognize\nMr Miller to be a careful man. He'll con-\nfess right and good to what he's not look-\ning for.\nAnd he is positive that he has \" a weak-\nness \" for the English language. Yet with\nhis genius for being careful he quickly makes\nit clear that his strength lies in his interest\n• J f X T\nfor \" American Plays for America . Very\ncautiously he comes in his very last line to\nconfess, that if (our under-line) he is \" look-\ning for anything, it is [for association with\nmore such capital native penmen as Richman,\nHopwood and Field \".\nNext, Mr Arthur Hopkins.\nHe says more or less what Mr Woods\nsaid. But he seems to say that he has sym-\npathy for aspirations (whereas Mr Woods\nsays he hasn't any), because, says Mr Hop-\nkins, he has more than a mere desire to\nmake money.\n\"My primary reason for putting on any\nplay is that 1 like it so much 1 want to see\nit on the stage\nBut after reading carefully these four re-\nplies to the question \" What are you look-\ning for ? \" we find that not a single practical\nanswer has been given.\nWe must admit that it is Mr Woods,\nhitherto unknown to us, whose replies please\nus the most. This apparently quite sceptical\nman with his easy way of buying plays\nby telegraph, strikes a rash note we rather\nlike.\nCjf But to the consideration of the rest\nof this \" Theatre Magazine \".\nLeading Article 3 states that someone is\n\" In Search of an American Siddons \". It\ncan't be Mr Belasco, Mr Woods, Mr Miller\nor Mr Hopkins or they would have said so.\nWho is it then that is looking for a fig on\na thistle or a thistle on a figtree ?\nThe author proceeds to say that Mrs\nFiske, Miss Anglin and Miss Le Gallienne\nare none of them Mrs Siddons, but are very good\nactresses ; and what a good actress Miss Mar-\nlowe was;—and how Miss O'Neil flirted with\nfame—and how Miss Keane's chances were\nspoiled—and charming Miss This and deli-\ncious Miss Tother were all right but no good\n\" for the future Of Miss Menken he asks\n\" will some producer please gamble on her\npotentialities in classic tragedy or high-class\ndrama?\" because, says he, we want to see\nher extended\" ; and of Miss Alice Brady\n\" She may do something really great one"}, {"page_pdf": 59, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4347, "texte": "day \" : but \" has she that within her to carry\nher upward and onward ? \" he asks. \"We\nmust watch Miss Lord\" he winds up. If\nsome manager could be brought to \" gamble\non her potentialities \" would that, we wonder,\n\" carry her upward and onward ? \" Unfor-\ntunately Miss Cowl is one who is \" close \"\nto being Mrs Siddons, though Mr Willis has\n\" grave doubts about her . So he turns to\nask what people may expect from Phyllis\nPovah.... \"a most painstaking young actress\nand passes on to Miss Helen Mackellar\nand on to Miss Eldridge, and to Miss\nSadie Thompson, Miss Leonore Ulric and\nothers.\nBut not once does he ask to see these\nadmirable performers in a part which would\ntest their peculiar Siddons quality; Lady\nMacbeth, for example, or Queen Katharine\nor some such difficult piece of work. Neither\ndoes he show much courage. Miss Marjorie\nRambeau, whom, alas, we have never seen, has\nbeen spoken of, by people who know immedia-\ntely if there be genius or no in an actress, as\npossessing undoubted genius;—yet Mr Willis\nspeaks of her as \" without inspiration .\nHow interesting it is to find the \" Theatre\nMagazine\" showering its praises around so\nlavishly, telling us of so many ladies with so\nmuch talent, and yet doubting if any will be\na second Siddons.\nIs there in all this any criticism of Ame-\nrica itself ? Where talent exists so widely yet\ndoes not develope and come to its own, some-\nthing is generally wrong with the place— not\nthe talent. Yet Mr Willis says not a word\nto lead us to suppose that America is not the\nmost perfect of places for the development of\ntalent and genius. All he is sceptical about\nis the talent and genius. Hmm!...\nMr Hornblow the Editor then takes the\nnext four pages for himself and in these he\nwrites us all about Sir John Martin Harvey's\nproduction of CEdipus, ending up with \" the\nReinhardtian touches were well done and\npasses on to \" The Swan , \" Launzi\nand Galsworthy's \" Windows \" produced by\nthe \" Theatre Guild\", to all of which he\nis polite. Then \" The Dancers , of which\nhe says that \" the distinguished author of\nTrilby would assuredly turn in his grave could\nhe guess the sort of play his son has turned\nout\". He adds that \" the standard of En-\nglish audiences was never lower than today ;\nand that its \" pretty poor stuff for a Du Mau-\nrier\", for the dialogue is \" wholly without\ndistinction \" and so on.\nMr Hornblow then goes for \" The Zieg-\nfeld Follies\" which do not seem to please\nany more. We are sorry for that as we hoped\nto see them in 1934 when we purpose going\nacross to see whether Mrs Siddons has been\nfound or not.\nThat we have doubts at all about this is\ndue to the article which follows Mr Horn-\nblow's critiques, and which is called \" Vices\nand Virtues of the American Theatre \" and\nis written by Melchior Lengyel.\nThis article attacks the system of em-\nploying a \" play doctor\" to cut and slash\nthe dialogue of a play for a manager; at\nthe same time it praises Mr Belasco and\nMr Hopkins. So the Vices are the \" play doc-\ntors \", the Virtues Belasco and Hopkins.\nBut that gets us not one jot nearer Mrs\nSiddons.\n€J Then comes what we consider to be\nquite the best article in the number. It is a very\nclever piece of work by Miss Ada Patterson,\ndescribing the talents of Mr Ned Wayburn.\nNeed we remind anyone that Mr. Ned Way-\nburn is the King of the Chorus-girls.\nHe is the only man whose name is in\nthe New York telephone book four times.\nA man of incredible energy, of good family,\nwent on the stage, was crowned as King of\nBuck Dancers ; and so we may suppose him\nas able to teach chorus girls how to dance.\nBut not as Fokine teaches them; that is\nwasting precious time: Wayburn is swifter.\nMiss Patterson called on Mr Wayburn\nand was admitted.\n\"I am the official picker of Ziegfeld Fol-\n\" lies girls \"he said. \"In that capacity I saw\n\" six thousand seven hundred and forty three\n\" girls last month. Out of that number I se-\n\" lected ninety-seven for the present Follies.\n\" Out of the six thousand odd four thousand\n\" had never had stage experience. Not one\n\" of them but could have been made into an\n\" actress. Any girl who has good features\n\" and a sense of rhythm and hasn't a hump\n\" can be made into an actress \".\nMiss Patterson reminds him that he \"omitted\nintelligence\".\n\"I meant to\" he re plied.\n\"Do you really mean\", she went on,\n\" that any woman can become an actress?"}, {"page_pdf": 60, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4238, "texte": "\" I do. just that \" (a).\n<1 Miss Patterson asked Mr Wayburn how\nhe selected future stars.\n\"As they arrive in the outer office and\napply, they are card indexed and divided into\ngroups.\n\" The division is made as to size.\n\" Girls of from five feet, to five feet three\n\" inches, are listed as dancers. Those whose\n\" height is from five feet three to five feet\n\" seven, as mediums. The girls who are from\n\" five feet seven, to five feet eleven, are show\n\" girls.\n\" Squads of 'em are sent into my office\".\n(By the way Mr Wayburn's card index\ncontains the name, addi ess, and personal\nhistory of every chorus girl who ever invaded\nManhattan Island (ie New York City) or de-\nserted it).\nMiss Patterson describes his office as\n\" more worthy of the name studio \". So fine\na place it is that \" Miss Raw Material on\nentering it feels piteably insignificant. Stan-\nding in line with her group, be it dancers or\nmediums or towering showgirls, she first\nlistens to a lecture \". Here she quotes Mr\nWayburn's lecture to the showgirls :\n\"If you have a sense of rhythm, which\n\" presently we will discover, you are fortu-\n\" nate Your features are good. It will be\n\" necessary for you to learn to stand better.\n\" You must neither sway back nor slump\n\" forward. You must learn to lift your feet\n\" easily and not to be conscious of them.\n\" And the same of your hands. Your height\n\"is your fortune. If you had been a dancer\n\" you would have earned thirty-five to fifty\n\" dollars a week. If you had been a me-\n\" dium fifty to seventy-five. But because of\n\" your height and the scarcity of showgirls\n\" you may earn from seventy-five to a hun-\n\" dred dollars a week \".\nThis is all refreshing nowadays when scep-\nticism is so much on the increase.\n<| Miss Patterson's last question was\n\" What is the average life of a chorus girl ? \"\nto which Mr Wayburn replied sententiously\n\"Five years\".\n\" Why so short ? \" said she.\n\" For one tiling \" he answered \" because\n\" ambition takes some of them into principal\n\" parts. Many of them marry. One reason\n\" is, that girls grow old fast in the chorus\".\nAnd the interview closes.\n§ Who is not left with wholesale admira-\ntion for this remarkable man of a remarkable\ncontinent ? What speed he has, what system,\nwhat absolute common-sense.\n\" 1 saw 6743 girls last month \" he has\nsaid.\nThat was so as to pick ninety-seven for\nMr Ziegfeld. And we ask how can we in Eu-\nrope ever hope to compete with this. We almost\nfeel that after all they are sure to discover\nthat second Mrs Siddons in less than five\nyears, for in that time Mr Wayburn will have\nindexed another four hundred and four thou-\nsand, five hundred and eighty (404,580) girls,\nand one is bound to be the Siddons.\nIf this isn't the way to find her, we ask\nthe world, what is ?\nWe have heard Mr Arthur Hopkins de-\nscribed by Americans as an artist and we\nnever could understand what was meant by\nthis. Mr J ones is an artist: Mr Geddes,\nMr Rosse, are artists. That we could under-\nstand.\nBut now we see what was meant by Mr\nHopkins being described as an artist. He\nis an artist more or less in the same way as\nMr Wayburn is an artist—but is he, can he\nreally be considered, such a great artist as this\nwonderful King of the Chorus?\n€J But we must get on to the other pages\nof the \" Theatre Magazine \".\nAfter a few incomprehensible leaves,\nwhich, however, contain one very pretty\npicture showing Miss Marlowe and her hus-\nband Mr Sothern in \" Cymbeline and\nshort articles on Vaudeville and Music, we\ncome to a portrait of Miss Jean Howard of\nthe Ziegfeld Follies, talking with a Parrot.\nWe had to stop and take a long look, spite\nof our wish to keep hustling on. So this,\nthis is one of the ninety-seven chosen ones.\nComplimenti, Signor Wayburn!\nThere are quite a few pages given to de-\nscribing the doings of the amateur Stage, a\nstage which, among other things, can boast\nThe Pasadena Community Players.\nThen one very dry anecdote of Sir Henry\nIrving and Mansfield, and a few more pages\nof advertisements, and the experience is over.\n\n(a) Reading this remarkable interview with a man of such\nimmense practical experience as Mr Wayburn's and coming\nto this point, my mind turned to thoughts of Maria Carmi\nand Lady Diar.a Cccper arid then returned to Mrs\nSiddons. * J. S."}, {"page_pdf": 61, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 3941, "texte": "WE have read through this whole number\nof \" The Theatre Magazine \" and are\ndelighted with the impression we have re-\nceived.\nWe are convinced that America had not\nthe slightest need for the visits of Salvmi,\nHenry Irving, Madame Eleonora Duse, The\nMoscow Art Theatre, Reinhardt and Co, or\nany European examples of old fashioned stage\nArt;—and by this we would not have it sup-\nposed that we mean any disrespect towards\nour best European products. But America is\ndifferent from Europe.\nRead the following passage which is in\nbig letters on the announcement page of the\nsame Theatre Magazine.\n\"We have seen the Moscow Art Thea-\ntre troupe and hailed them as the finest of\nworld players.\n\" But there is another theatrical organi-\nzation even greater than Stanislavsky and\nhis associates—a new theatre whose pro-\nductions are the best yet achieved in the\ndirection of a new and distinctively mo-\ndern form of drama.\n\" Read about it in the next issue \".\nThat's the spirit—surely.\nNever give a thing time to take root in\nAmerica—it might take root and blossom and\neven bear fruit. And unless it be home-\ngrown, after all, why it bear fruit,\nblossom or take root ?\n€j} And this brings us to the second Ame-\nrican Theatrical Magazine.\n\nTHE THEATRE ARTS MONTHLY.\nThe number for January 1924 is the copy\nchosen.\nAvoiding all talk of Mr Way burn, for\nwhich we are sorry, it devotes its pages (very\nhandsome pages too, on good paper) to what\nperhaps some Americans might dub high-brow\nstuff.\nWe must admit we rather like this sort\nof high-brow ; the brow suits the figure—and\nthe figure is an athletic one. Different from\nthe \" Theatre Magazine \", it is its complement.\nIt stands for what it believes in, and we cannot\nthink that, because it stands firm, walks with\nbearing, speaks well and generally conducts\nitself like everyone else, it need be dubbed\nhigh-brow or taken for anything at all resem-\nbling that eccentric and unusual object.\nThere are some forty—or is it eighty?—\ndifferent peoples on our earth. Hindoos, En-\nglish, New Zealanders, Germans, Hottentots\n—how many? Well, the people who form\nthe small group of \" Theatre Arts Monthly \"\nare like those we have met of every other\nnationality.\nThey seem to like a hundred dollars\nwithout forgetting that there are other things.\nFor they like Theatres as do so many others,\nin those eighty different lands. But they do\nnot like money, see money, live, sleep and\nwake, money; curse and bless money, or sell\nwhat's worth much to them for one dollar a\nhalf-ounce.\nIn this they are like everyone else on\nearth—except the eccentric ones.\nThese eccentrics are like all other eccen-\ntrics, born to keep us jolly. They concern\nthemselves with card indexes so amusingly\nat times that we almost die with laughing.\nThey sell all sorts of precious things (we\nneed not enumerate them) for a few dollars;\na percentage of a hundred dollars a week,\nfor example. And when they do that it is\nsmart fun. But a still greater joke is when\nthese jolly fellows come forth robed in\nthe majesty of seriousness and solemnly an-\nnounce what they are doing— —and why.\nAt times we see them looking for something.\n\" What are we looking for ? \" they ask each\nother. \" Artistic joy \" they reply. The house\ncomes down.\nBut our friends in \" Theatre Arts Month-\nly \" need never say what they are looking\nfor, since we know they have found it. And\nthey have shouldered the heavy thing. They\nare not the comedians of our stage-world;\nthey do not split our sides with laughter,\nthough anyone who is ass enough to laugh may.\nTo draw any comparison between these\ntwo journals, \" The Theatre Magazine and\nthe \"Theatre Arts Monthly\" would be the\nvery last thing we should wish to do; but\nthose who chance to see the two, side by\nside, cannot help noticing slight differences.\nWe mean of course in paper, type, and\nsuch-like externals.\nWe have already stated the number of\npages and so forth, of which the \" Theatre\nMagazine \" consists."}, {"page_pdf": 62, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 3799, "texte": "The \" Theatre Arts Monthly\" has as\nmany pages, and slightly smaller; but not a\npage is split up to make room for advertise-\nments. \"Highbrow\" is it? Silly ass.... it s\nplaying the game properly.\nSo it comes to it that this \" Theatre Arts\nMonthly \" has more pages devoted to text\nand designs than has the \" Theatre Magazine \".\nAnd the text is very readable and the designs\nare by the best artists.\nIf there are not twenty-three pictures of\nchorus girls that is only because \" Theatre\nArts Monthly\" does not care to intrude\nwill not poach on the other journal's pre-\nserves.\nWe will not bore our readers by any fer-\nvid expressions of enthusiasm, or \" sympathy\nas others would put it, for the group of or-\ndinary good workers who have flocked round\nthe American representatives of the thing called\nThe New Movement in the Art of the Theatre.\nFrom Sheldon Cheney, the original editor,\nthrough Robert Jones, down to Ceddes and\nMacGowan, and on to the latest recruits,\none and all of them are doing what the world\nhas for centuries known as the thing the good\nworkman and the artist always does. Mr. Stark\nYoung too : and last and certainly not least\nMiss Isaacs.\nIt is quite ordinary, being but a natural\nyet a sincere affection for that plain unvar-\nnished thing The Theatre. They have given\ntheir lives to enjoying this thing ; and, if some-\nthing good happens to be made while they\nare enjoying themselves, well, they hope the\nworld will like it and a few people will at\nany rate not be the losers.\nWe put it badly.... but just for the mo-\nment cannot put it any better.\nAt the end of 1924 those who subscribe\nnow for a year s twelve numbers of the\n\"Theatre Arts Monthly\" will have a very\nhandsome volume indeed.\nMost Theatre Journals are a bit of gaudy\nfun for the moment (let us thank them for that)\nbut they are not particularly worth keeping.\nSome things wont keep, what with the changes\nin the climate, and the flies, and the rest of it.\nThe \" Theatre Arts Monthly \" will keep.\nAllow us to be as serious as possible on\nthat point. At the end of a year you will\nbind up your twelve numbers and have a\nvolume to which you can turn very often.\nThe writers and draughtsmen, architects,\npainters and stage-managers who contribute\nto it are a rather discontented lot of people.\nAs are we of \" The Mask \". Discon-\ntented does not mean gloom. They, and we,\nare always in the highest spirits.\nWe, and they, are perhaps more grave when\ndiscontented with ourselves and what we do,\nthan with the eccentrics who keep us jolly ;—so\nno one need suspect us of being cross about\nwhat the merry outsiders are doing. They are\nthere and we hope they will stay there ; banjo\nat breast may they strum till kingdom come, the\nWarries and the other Wanglers, the Wopkins\nand the whole excrutiating race of take-me-\nserious-artists who are no artists but just jolly\nold merchants, dealing in this and in that:\nnever working, just trading nicely, you know.\nBut we work in our studios, theatres,\nor wherever we happen to be. We work\non even if in a Palace in Venice or in a\nHotel in Amsterdam or by the Nile. Our\nwork is not dependent on a studio or an of-\nfice, or a card index, or even a theatre.\nIf we have a theatre, meno male. If none,\nall's one.\nThat is the touch of comedy we add to\nthe general merriment; it settles, balances the\nhorror of the words Art and Artist. They\nare terrifying words it must be admitted.\nStill, there they are, like \"agent\" or \"ma-\nnager\", \"King\" or \"Pope\";—words will\nbe words.\nBeing able to do our work even on top of a\nbus or under a haystack balances it all,—makes\nit pleasant, and settles all differences.\nRemember this, you jolly merchants in\nBroadway, when next inclined to poke fun at\nour friends in Number 7 East 42nd Street.\nYou have the laugh but, after all, they\nhave the melon."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c035", "article_bluemountain": "bmtnaau_1924-07_01#c035", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "image_debut": 63, "image_fin": 63, "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=bmtnaau192407-01.2.12.1", "titre_corps": "GIUSEPPA CORTESI", "titre_sommaire": "GIUSEPPA CORTESI", "signature_source": "OLDANI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 134, "texte": "GIUSEPPA CORTESI\nFROM A PORTRAIT ENGRAVED BY OLDANI.\nIn the History of the Stage La Cortesi figures as a dancer of incomparable merit."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c036", "article_bluemountain": "bmtnaau_1924-07_01#c036", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "127", "image_debut": 57, "image_fin": 61, "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=bmtnaau192407-01.2.12.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.57", "debut_caractere": 512, "fin_caractere_exclue": 3726, "texte": "AMERICA has made immense efforts these\nlast ten years, to shake itself free from\nthe humbug which prevents the development\nof its Theatre,—that humbug which resembles\nthe European growth as one ear of the ass\nis like the other ear.\nAnd if certain centres like New York keep\nus only too well informed that the humbug in\nthat city is as prominent as ever it was, this is\ndue in great measure to the admirable Theatre\nMagazine edited by Mr Hornblow, number\none of the two above-named publications.\nThose of our readers who know the\n\" Theatre Magazine \" with its photographic\ndisplay of Moeller or Morgan dancers, know\nthat the \" Theatre Magazine \" is quite sincere\nin its protests against \" Obscene Broadway\nShows which must stop \". These protests ap-\npear regularly in its columns.\nIt is not to be doubted for a moment but\nthat Messrs Meyers's handsomely printed Ma-\ngazine is all for good : all for good art; all\nfor the best artists.\nNo one could possibly assert that it is out\nto make money; that its desire is not to get\nthings better.\nThe very covers themselves demonstrate\nthe fact of this aim and the precise extent of\nachievement.\nThe December number for 1923 is be-\nfore us. Could anyone say that the picture\nof the girl on the cover in what appears to\nbe three to five colours is anything but the\nvery highest art? We ask? Its healthiness\"is\napparent, is it not ? Added to this it is a dis-\ntinguished piece of colour-printing: or are we\nmistaken ?\nYet someone only yesterday picked up\nthis journal and ridiculed the whole thing be-\nginning with these smooth coloured covers,\nsaying that it was a tenth-rate affair from every\npoint of view.\nYet what are its contents ? Let us turn\nthe pages.\nTo begin with it consists of 76 pages.\nOf these some 51 are filled with letter-press\nand photographs and a few sketches ; nearly\nall the rest are advertisements. Now 30 pages\nof advertisements out of 76 pages of maga-\nzine leaves not a bad balance.\nThe odd 50 pages contain six leading\narticles.\n1. The Sewer on the Stage.\n2. What we are looking for, by Four\nTheatrical Managers.\n3. In Search of an American Siddons.\n4. Vices and Virtues of the American\nTheatre.\n5. Broadway's King of the Chorus.\n6. Ballyhooing the Burlesque Business.\n\" The Sewer of the Stage\" by Mr\nSumner is written with the direct purpose of\nuplifting the City of New York, and pro-\ntests very forcibly against the plays which the\nNew York managers, we suppose, are produ-\ncing, and which have received good notices\nin the New York journals and possibly in\nMessrs Meyers's \" Theatre Magazine \".\nIt protests no less forcibly against \" pictures\nof half naked stage beauties\" which the\nnewspapers and magazines print. This is on\npage 9. On the page facing this, page 8,\nis a large page reproduction of \"The Graces\",\nfour girls certainly half naked, four members\nof the Moeller Dancers.\nSo here you see the tendency of the ma-\ngazine. It is obviously to give an illustra-\ntion of the very thing Mr Sumner protests\nagainst, so as to show that he is quite cor-\nrect in what he asserts.\nThe next article is written by Mr Belasco,\nMr Woods, Mr Miller and Mr Hopkins,\nfour celebrated managers of New York Thea-\ntres. They say what they are looking for."}, {"page_pdf": 58, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4279, "texte": "Mr Belasco, the doyen of the Managers,\nsays he is looking for plays, and admits that,\nwhile he is \" generally engaged in writing a\nplay \" of his own, he also \" assists by advice\na number of young writers who submit ideas\nor plots \" which impress him \" as capable of\ndevelopment into good plays\". That's all\nright. It's what Shakespeare did, and most\nother playwriters dislike doing. It's what\nDumas did. He adds that he always tries\nto get \" material adapted to the special re-\nquirements \" of his star performers.\nThis he admits is why he has to do so\nmuch altering, He winds up by saying that\nit is often an artistic joy to him to indulge\nhimself and put on a play which wont pay.\nMr Belasco is well known, has done good\nwork, is a picturesque figure, and to know\nwhat he is looking for is satisfactory.\nMr A. H. Woods is on the other hand\nunknown to us of \" The Mask \". Yet his\nfirst sentence helps us to know him a little.\n\" I have no sympathy for or interest in aspi-\nring playwrights or aspiring anything\". It's\nbadly put, but it's modest.\n\" I want plays that interest me \" he goes\non. What sounder common sense ? And\nthere are people not alone in Europe but in\nthe States who assert that American theatrical\nmanagers have too refined senses and not\nenough hard-headed practicality.\n\" I am receptive to the emotion the\nscript can give me \"; this is his third state-\nment : adding, \" I bought (by wire) \" Kick\nIn \" on the strength of a fifty word scenario\nsent me from Los Angeles \"—which seems\nby every rule of the game to breathe common\nsense.\n\"I bought 'A Voice in the Dark' the\nsame way. The telegram in this case did\nnot even give me the complete scenario; it\nmerely suggested an idea which I thought\nnovel enough to take a- chance on \".\nThe future of the American Drama seems\nassured if only more such managers as Mr\nA. H. Woods can come into power.\nMr Gilbert Miller is the next to step for-\nward and gives away the secret of what he\nwishes, what he is \" looking for \".\n\" I do not know that 1 can truthfully say\nat any one time that I am looking for any\none or any several certain things \".\nNow at the first glance we recognize\nMr Miller to be a careful man. He'll con-\nfess right and good to what he's not look-\ning for.\nAnd he is positive that he has \" a weak-\nness \" for the English language. Yet with\nhis genius for being careful he quickly makes\nit clear that his strength lies in his interest\n• J f X T\nfor \" American Plays for America . Very\ncautiously he comes in his very last line to\nconfess, that if (our under-line) he is \" look-\ning for anything, it is [for association with\nmore such capital native penmen as Richman,\nHopwood and Field \".\nNext, Mr Arthur Hopkins.\nHe says more or less what Mr Woods\nsaid. But he seems to say that he has sym-\npathy for aspirations (whereas Mr Woods\nsays he hasn't any), because, says Mr Hop-\nkins, he has more than a mere desire to\nmake money.\n\"My primary reason for putting on any\nplay is that 1 like it so much 1 want to see\nit on the stage\nBut after reading carefully these four re-\nplies to the question \" What are you look-\ning for ? \" we find that not a single practical\nanswer has been given.\nWe must admit that it is Mr Woods,\nhitherto unknown to us, whose replies please\nus the most. This apparently quite sceptical\nman with his easy way of buying plays\nby telegraph, strikes a rash note we rather\nlike.\nCjf But to the consideration of the rest\nof this \" Theatre Magazine \".\nLeading Article 3 states that someone is\n\" In Search of an American Siddons \". It\ncan't be Mr Belasco, Mr Woods, Mr Miller\nor Mr Hopkins or they would have said so.\nWho is it then that is looking for a fig on\na thistle or a thistle on a figtree ?\nThe author proceeds to say that Mrs\nFiske, Miss Anglin and Miss Le Gallienne\nare none of them Mrs Siddons, but are very good\nactresses ; and what a good actress Miss Mar-\nlowe was;—and how Miss O'Neil flirted with\nfame—and how Miss Keane's chances were\nspoiled—and charming Miss This and deli-\ncious Miss Tother were all right but no good\n\" for the future Of Miss Menken he asks\n\" will some producer please gamble on her\npotentialities in classic tragedy or high-class\ndrama?\" because, says he, we want to see\nher extended\" ; and of Miss Alice Brady\n\" She may do something really great one"}, {"page_pdf": 59, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4347, "texte": "day \" : but \" has she that within her to carry\nher upward and onward ? \" he asks. \"We\nmust watch Miss Lord\" he winds up. If\nsome manager could be brought to \" gamble\non her potentialities \" would that, we wonder,\n\" carry her upward and onward ? \" Unfor-\ntunately Miss Cowl is one who is \" close \"\nto being Mrs Siddons, though Mr Willis has\n\" grave doubts about her . So he turns to\nask what people may expect from Phyllis\nPovah.... \"a most painstaking young actress\nand passes on to Miss Helen Mackellar\nand on to Miss Eldridge, and to Miss\nSadie Thompson, Miss Leonore Ulric and\nothers.\nBut not once does he ask to see these\nadmirable performers in a part which would\ntest their peculiar Siddons quality; Lady\nMacbeth, for example, or Queen Katharine\nor some such difficult piece of work. Neither\ndoes he show much courage. Miss Marjorie\nRambeau, whom, alas, we have never seen, has\nbeen spoken of, by people who know immedia-\ntely if there be genius or no in an actress, as\npossessing undoubted genius;—yet Mr Willis\nspeaks of her as \" without inspiration .\nHow interesting it is to find the \" Theatre\nMagazine\" showering its praises around so\nlavishly, telling us of so many ladies with so\nmuch talent, and yet doubting if any will be\na second Siddons.\nIs there in all this any criticism of Ame-\nrica itself ? Where talent exists so widely yet\ndoes not develope and come to its own, some-\nthing is generally wrong with the place— not\nthe talent. Yet Mr Willis says not a word\nto lead us to suppose that America is not the\nmost perfect of places for the development of\ntalent and genius. All he is sceptical about\nis the talent and genius. Hmm!...\nMr Hornblow the Editor then takes the\nnext four pages for himself and in these he\nwrites us all about Sir John Martin Harvey's\nproduction of CEdipus, ending up with \" the\nReinhardtian touches were well done and\npasses on to \" The Swan , \" Launzi\nand Galsworthy's \" Windows \" produced by\nthe \" Theatre Guild\", to all of which he\nis polite. Then \" The Dancers , of which\nhe says that \" the distinguished author of\nTrilby would assuredly turn in his grave could\nhe guess the sort of play his son has turned\nout\". He adds that \" the standard of En-\nglish audiences was never lower than today ;\nand that its \" pretty poor stuff for a Du Mau-\nrier\", for the dialogue is \" wholly without\ndistinction \" and so on.\nMr Hornblow then goes for \" The Zieg-\nfeld Follies\" which do not seem to please\nany more. We are sorry for that as we hoped\nto see them in 1934 when we purpose going\nacross to see whether Mrs Siddons has been\nfound or not.\nThat we have doubts at all about this is\ndue to the article which follows Mr Horn-\nblow's critiques, and which is called \" Vices\nand Virtues of the American Theatre \" and\nis written by Melchior Lengyel.\nThis article attacks the system of em-\nploying a \" play doctor\" to cut and slash\nthe dialogue of a play for a manager; at\nthe same time it praises Mr Belasco and\nMr Hopkins. So the Vices are the \" play doc-\ntors \", the Virtues Belasco and Hopkins.\nBut that gets us not one jot nearer Mrs\nSiddons.\n€J Then comes what we consider to be\nquite the best article in the number. It is a very\nclever piece of work by Miss Ada Patterson,\ndescribing the talents of Mr Ned Wayburn.\nNeed we remind anyone that Mr. Ned Way-\nburn is the King of the Chorus-girls.\nHe is the only man whose name is in\nthe New York telephone book four times.\nA man of incredible energy, of good family,\nwent on the stage, was crowned as King of\nBuck Dancers ; and so we may suppose him\nas able to teach chorus girls how to dance.\nBut not as Fokine teaches them; that is\nwasting precious time: Wayburn is swifter.\nMiss Patterson called on Mr Wayburn\nand was admitted.\n\"I am the official picker of Ziegfeld Fol-\n\" lies girls \"he said. \"In that capacity I saw\n\" six thousand seven hundred and forty three\n\" girls last month. Out of that number I se-\n\" lected ninety-seven for the present Follies.\n\" Out of the six thousand odd four thousand\n\" had never had stage experience. Not one\n\" of them but could have been made into an\n\" actress. Any girl who has good features\n\" and a sense of rhythm and hasn't a hump\n\" can be made into an actress \".\nMiss Patterson reminds him that he \"omitted\nintelligence\".\n\"I meant to\" he re plied.\n\"Do you really mean\", she went on,\n\" that any woman can become an actress?"}, {"page_pdf": 60, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4238, "texte": "\" I do. just that \" (a).\n<1 Miss Patterson asked Mr Wayburn how\nhe selected future stars.\n\"As they arrive in the outer office and\napply, they are card indexed and divided into\ngroups.\n\" The division is made as to size.\n\" Girls of from five feet, to five feet three\n\" inches, are listed as dancers. Those whose\n\" height is from five feet three to five feet\n\" seven, as mediums. The girls who are from\n\" five feet seven, to five feet eleven, are show\n\" girls.\n\" Squads of 'em are sent into my office\".\n(By the way Mr Wayburn's card index\ncontains the name, addi ess, and personal\nhistory of every chorus girl who ever invaded\nManhattan Island (ie New York City) or de-\nserted it).\nMiss Patterson describes his office as\n\" more worthy of the name studio \". So fine\na place it is that \" Miss Raw Material on\nentering it feels piteably insignificant. Stan-\nding in line with her group, be it dancers or\nmediums or towering showgirls, she first\nlistens to a lecture \". Here she quotes Mr\nWayburn's lecture to the showgirls :\n\"If you have a sense of rhythm, which\n\" presently we will discover, you are fortu-\n\" nate Your features are good. It will be\n\" necessary for you to learn to stand better.\n\" You must neither sway back nor slump\n\" forward. You must learn to lift your feet\n\" easily and not to be conscious of them.\n\" And the same of your hands. Your height\n\"is your fortune. If you had been a dancer\n\" you would have earned thirty-five to fifty\n\" dollars a week. If you had been a me-\n\" dium fifty to seventy-five. But because of\n\" your height and the scarcity of showgirls\n\" you may earn from seventy-five to a hun-\n\" dred dollars a week \".\nThis is all refreshing nowadays when scep-\nticism is so much on the increase.\n<| Miss Patterson's last question was\n\" What is the average life of a chorus girl ? \"\nto which Mr Wayburn replied sententiously\n\"Five years\".\n\" Why so short ? \" said she.\n\" For one tiling \" he answered \" because\n\" ambition takes some of them into principal\n\" parts. Many of them marry. One reason\n\" is, that girls grow old fast in the chorus\".\nAnd the interview closes.\n§ Who is not left with wholesale admira-\ntion for this remarkable man of a remarkable\ncontinent ? What speed he has, what system,\nwhat absolute common-sense.\n\" 1 saw 6743 girls last month \" he has\nsaid.\nThat was so as to pick ninety-seven for\nMr Ziegfeld. And we ask how can we in Eu-\nrope ever hope to compete with this. We almost\nfeel that after all they are sure to discover\nthat second Mrs Siddons in less than five\nyears, for in that time Mr Wayburn will have\nindexed another four hundred and four thou-\nsand, five hundred and eighty (404,580) girls,\nand one is bound to be the Siddons.\nIf this isn't the way to find her, we ask\nthe world, what is ?\nWe have heard Mr Arthur Hopkins de-\nscribed by Americans as an artist and we\nnever could understand what was meant by\nthis. Mr J ones is an artist: Mr Geddes,\nMr Rosse, are artists. That we could under-\nstand.\nBut now we see what was meant by Mr\nHopkins being described as an artist. He\nis an artist more or less in the same way as\nMr Wayburn is an artist—but is he, can he\nreally be considered, such a great artist as this\nwonderful King of the Chorus?\n€J But we must get on to the other pages\nof the \" Theatre Magazine \".\nAfter a few incomprehensible leaves,\nwhich, however, contain one very pretty\npicture showing Miss Marlowe and her hus-\nband Mr Sothern in \" Cymbeline and\nshort articles on Vaudeville and Music, we\ncome to a portrait of Miss Jean Howard of\nthe Ziegfeld Follies, talking with a Parrot.\nWe had to stop and take a long look, spite\nof our wish to keep hustling on. So this,\nthis is one of the ninety-seven chosen ones.\nComplimenti, Signor Wayburn!\nThere are quite a few pages given to de-\nscribing the doings of the amateur Stage, a\nstage which, among other things, can boast\nThe Pasadena Community Players.\nThen one very dry anecdote of Sir Henry\nIrving and Mansfield, and a few more pages\nof advertisements, and the experience is over.\n\n(a) Reading this remarkable interview with a man of such\nimmense practical experience as Mr Wayburn's and coming\nto this point, my mind turned to thoughts of Maria Carmi\nand Lady Diar.a Cccper arid then returned to Mrs\nSiddons. * J. S."}, {"page_pdf": 61, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 1226, "texte": "WE have read through this whole number\nof \" The Theatre Magazine \" and are\ndelighted with the impression we have re-\nceived.\nWe are convinced that America had not\nthe slightest need for the visits of Salvmi,\nHenry Irving, Madame Eleonora Duse, The\nMoscow Art Theatre, Reinhardt and Co, or\nany European examples of old fashioned stage\nArt;—and by this we would not have it sup-\nposed that we mean any disrespect towards\nour best European products. But America is\ndifferent from Europe.\nRead the following passage which is in\nbig letters on the announcement page of the\nsame Theatre Magazine.\n\"We have seen the Moscow Art Thea-\ntre troupe and hailed them as the finest of\nworld players.\n\" But there is another theatrical organi-\nzation even greater than Stanislavsky and\nhis associates—a new theatre whose pro-\nductions are the best yet achieved in the\ndirection of a new and distinctively mo-\ndern form of drama.\n\" Read about it in the next issue \".\nThat's the spirit—surely.\nNever give a thing time to take root in\nAmerica—it might take root and blossom and\neven bear fruit. And unless it be home-\ngrown, after all, why it bear fruit,\nblossom or take root ?\n€j} And this brings us to the second Ame-\nrican Theatrical Magazine."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c037", "article_bluemountain": "bmtnaau_1924-07_01#c037", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "128", "image_debut": 61, "image_fin": 62, "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=bmtnaau192407-01.2.12.3", "titre_corps": "THE THEATRE ARTS MONTHLY", "titre_sommaire": "THE THEATRE ARTS MONTHLY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.61", "debut_caractere": 1228, "fin_caractere_exclue": 3941, "texte": "THE THEATRE ARTS MONTHLY.\nThe number for January 1924 is the copy\nchosen.\nAvoiding all talk of Mr Way burn, for\nwhich we are sorry, it devotes its pages (very\nhandsome pages too, on good paper) to what\nperhaps some Americans might dub high-brow\nstuff.\nWe must admit we rather like this sort\nof high-brow ; the brow suits the figure—and\nthe figure is an athletic one. Different from\nthe \" Theatre Magazine \", it is its complement.\nIt stands for what it believes in, and we cannot\nthink that, because it stands firm, walks with\nbearing, speaks well and generally conducts\nitself like everyone else, it need be dubbed\nhigh-brow or taken for anything at all resem-\nbling that eccentric and unusual object.\nThere are some forty—or is it eighty?—\ndifferent peoples on our earth. Hindoos, En-\nglish, New Zealanders, Germans, Hottentots\n—how many? Well, the people who form\nthe small group of \" Theatre Arts Monthly \"\nare like those we have met of every other\nnationality.\nThey seem to like a hundred dollars\nwithout forgetting that there are other things.\nFor they like Theatres as do so many others,\nin those eighty different lands. But they do\nnot like money, see money, live, sleep and\nwake, money; curse and bless money, or sell\nwhat's worth much to them for one dollar a\nhalf-ounce.\nIn this they are like everyone else on\nearth—except the eccentric ones.\nThese eccentrics are like all other eccen-\ntrics, born to keep us jolly. They concern\nthemselves with card indexes so amusingly\nat times that we almost die with laughing.\nThey sell all sorts of precious things (we\nneed not enumerate them) for a few dollars;\na percentage of a hundred dollars a week,\nfor example. And when they do that it is\nsmart fun. But a still greater joke is when\nthese jolly fellows come forth robed in\nthe majesty of seriousness and solemnly an-\nnounce what they are doing— —and why.\nAt times we see them looking for something.\n\" What are we looking for ? \" they ask each\nother. \" Artistic joy \" they reply. The house\ncomes down.\nBut our friends in \" Theatre Arts Month-\nly \" need never say what they are looking\nfor, since we know they have found it. And\nthey have shouldered the heavy thing. They\nare not the comedians of our stage-world;\nthey do not split our sides with laughter,\nthough anyone who is ass enough to laugh may.\nTo draw any comparison between these\ntwo journals, \" The Theatre Magazine and\nthe \"Theatre Arts Monthly\" would be the\nvery last thing we should wish to do; but\nthose who chance to see the two, side by\nside, cannot help noticing slight differences.\nWe mean of course in paper, type, and\nsuch-like externals.\nWe have already stated the number of\npages and so forth, of which the \" Theatre\nMagazine \" consists."}, {"page_pdf": 62, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 3799, "texte": "The \" Theatre Arts Monthly\" has as\nmany pages, and slightly smaller; but not a\npage is split up to make room for advertise-\nments. \"Highbrow\" is it? Silly ass.... it s\nplaying the game properly.\nSo it comes to it that this \" Theatre Arts\nMonthly \" has more pages devoted to text\nand designs than has the \" Theatre Magazine \".\nAnd the text is very readable and the designs\nare by the best artists.\nIf there are not twenty-three pictures of\nchorus girls that is only because \" Theatre\nArts Monthly\" does not care to intrude\nwill not poach on the other journal's pre-\nserves.\nWe will not bore our readers by any fer-\nvid expressions of enthusiasm, or \" sympathy\nas others would put it, for the group of or-\ndinary good workers who have flocked round\nthe American representatives of the thing called\nThe New Movement in the Art of the Theatre.\nFrom Sheldon Cheney, the original editor,\nthrough Robert Jones, down to Ceddes and\nMacGowan, and on to the latest recruits,\none and all of them are doing what the world\nhas for centuries known as the thing the good\nworkman and the artist always does. Mr. Stark\nYoung too : and last and certainly not least\nMiss Isaacs.\nIt is quite ordinary, being but a natural\nyet a sincere affection for that plain unvar-\nnished thing The Theatre. They have given\ntheir lives to enjoying this thing ; and, if some-\nthing good happens to be made while they\nare enjoying themselves, well, they hope the\nworld will like it and a few people will at\nany rate not be the losers.\nWe put it badly.... but just for the mo-\nment cannot put it any better.\nAt the end of 1924 those who subscribe\nnow for a year s twelve numbers of the\n\"Theatre Arts Monthly\" will have a very\nhandsome volume indeed.\nMost Theatre Journals are a bit of gaudy\nfun for the moment (let us thank them for that)\nbut they are not particularly worth keeping.\nSome things wont keep, what with the changes\nin the climate, and the flies, and the rest of it.\nThe \" Theatre Arts Monthly \" will keep.\nAllow us to be as serious as possible on\nthat point. At the end of a year you will\nbind up your twelve numbers and have a\nvolume to which you can turn very often.\nThe writers and draughtsmen, architects,\npainters and stage-managers who contribute\nto it are a rather discontented lot of people.\nAs are we of \" The Mask \". Discon-\ntented does not mean gloom. They, and we,\nare always in the highest spirits.\nWe, and they, are perhaps more grave when\ndiscontented with ourselves and what we do,\nthan with the eccentrics who keep us jolly ;—so\nno one need suspect us of being cross about\nwhat the merry outsiders are doing. They are\nthere and we hope they will stay there ; banjo\nat breast may they strum till kingdom come, the\nWarries and the other Wanglers, the Wopkins\nand the whole excrutiating race of take-me-\nserious-artists who are no artists but just jolly\nold merchants, dealing in this and in that:\nnever working, just trading nicely, you know.\nBut we work in our studios, theatres,\nor wherever we happen to be. We work\non even if in a Palace in Venice or in a\nHotel in Amsterdam or by the Nile. Our\nwork is not dependent on a studio or an of-\nfice, or a card index, or even a theatre.\nIf we have a theatre, meno male. If none,\nall's one.\nThat is the touch of comedy we add to\nthe general merriment; it settles, balances the\nhorror of the words Art and Artist. They\nare terrifying words it must be admitted.\nStill, there they are, like \"agent\" or \"ma-\nnager\", \"King\" or \"Pope\";—words will\nbe words.\nBeing able to do our work even on top of a\nbus or under a haystack balances it all,—makes\nit pleasant, and settles all differences.\nRemember this, you jolly merchants in\nBroadway, when next inclined to poke fun at\nour friends in Number 7 East 42nd Street.\nYou have the laugh but, after all, they\nhave the melon."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c039", "article_bluemountain": "bmtnaau_1924-07_01#c039", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 65, "image_fin": 65, "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=bmtnaau192407-01.2.13", "titre_corps": "GIUSEPPA CORTESI", "titre_sommaire": "GIUSEPPA CORTESI", "signature_source": "GIOVANNI MEZZOGIORNO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 2285, "texte": "GIUSEPPA CORTESI.\nGIOVANNI MEZZOGIORNO.\nIF we are asked to name the great European dancers of the\npast, although never having seen them dance, we come\nout pat with Fanny Ellsler or La Guimard, La Barbarina\nor Taglioni. Allow me to come out as pat with La Cor-\ntesi, not having seen her either.\nShe was born sometime about the year 1780, and\nBernardino Mezzanotte speaks of her name as destined to\nbe eternal: yet it is today forgotten by all but a rare few,\nand, (so far as my search of two and a half years goes)\nhas not been heard of out of Italy.\nBut listen to Mezzanotte:\nI SERTI NOBILI\nCHE SON QUI' APPESI\nIL NOME ETERNINO\nDELLA CORTESI;\nand this he prints as I have done in capital letters in his\nANACREONTICA made to her in 1804 and printed\nthat year in Perugia, on that well-remembered summer's\nday when she came to dance at the Teatro Civico del\nVerzaro in that city \" con applauso universale \" as PRIMA\nBALLERINA ASSOLUTA.\nThen it was that the great Oldani was prevailed on\nto engrave the celebrated portrait which is reproduced here,\n{page 129) which reproduction, alas, merely gives her head,\nbut in no way shows us that Divine Pepa who inspired\nMezzanotte to pen his Anacreontica:\nVegeti I* Edera\nCresca il virgulto\nBambino abbraccilo\nLo stringa adulto.\nVenga col TEVERE\nII TRASIMENO\nFecondi TArbore\nD'Arcadia in seno\nII Nome celebre\nSu questa Riva\nDi PEPPA amabile\nMai sempre viva—\nThe name of II Mezzanotte is almost as eternal as that\nof La Cortesi, yet he too awaits his Biographer. He must\nnot be confounded with A. Mezzanotte the author of\n\"La Disposizione della Croce etc., Perugia 1818.\nThe evidence of La Cortesi's immense powers to en-\nchant the Italian nation will be given to \" The Mask\"\nreaders in due time: \"daughter of Terpsichore 99 she was\ncalled, even as La Guimard, Taglioni and La Barbarina;\nfor her the sun arose, the birds sang, in the middle of the\nnight. I should be much surprised if even the great\nMile. Virginie (a), a name hardly less celebre, be proved to\nhave won more hearts, gained greater applause, or made\nmore money.\nGiuseppa Cortesi seems to have been married to Antonio\nCortesi some time about the year 1802.\n(a) In 1773 Mile. Virginie made over 60,000 livres in six\nmonths in the city of Lyons, says the Historian of Mile. Rau-\ncourt."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c042", "article_bluemountain": "bmtnaau_1924-07_01#c042", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 65, "image_fin": 65, "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=bmtnaau192407-01.2.14", "titre_corps": "THE POET IN THE THEATRE", "titre_sommaire": "THE POET IN THE THEATRE", "signature_source": "JOHN MASEFIELD", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.65", "debut_caractere": 2287, "fin_caractere_exclue": 3081, "texte": "THE POET IN THE THEATRE.\nHill Crest,\nBoar's Hill. Oxford.\nYours sincerely,\nJOHN MASEFIELD.\nDear Sir,\nIsee that, in The Mask, you discuss the place of a poet\nin a theatre.\nIn this country, poets have the supreme precedent of\nShakespeare, who settled this point by calling some of the\nother artists, who worked in the theatre with him, \" his\nfellows \".\nA poet should be \" the fellow\" of the other artists\nworking in the theatre. He and the other artists should\nbe working together to give to each other the greatest\npossible opportunities for the exercise of their powers.\nWhenever this happens in any theatre something noble is\nachieved.\nNo worker in the theatre can do without the art of\nhis fellow workers, each should bring all that he can to\nthe common stock, which thereby becomes uncommon."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c044", "article_bluemountain": "bmtnaau_1924-07_01#c044", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "136", "image_debut": 66, "image_fin": 70, "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=bmtnaau192407-01.2.15", "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": 66, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 6414, "texte": "BOOK REVIEWS.\n\nTHE SHAKESPEAREAN STAGE\nby E. K. Chambers. 4 Vols. £ 3.10.0\nClarendon Press.\n\nShakespeare Stage and Georgian Stage.\nHOW I would like to know exactly\nwhat Mr E. K. Chambers feels\nand thinks about the Theatre of our\nage, the Georgian stage, now that he\nhas finished his amazing book on the\nElizabethan Stage.\nI am aware that this curiosity of\nmine may be rather out of place: may\nbe in the worst of taste, but there it is.\nIt is at its best only a word put in,\non behalf of today, for these four vo-\nlumes of 44 The Elizabethan Stage **\nare all for yesterday and for tomorrw.\nChambers is a giant of sorts. I\nwas always greatly impressed by him; in\nhis 44 Mediaeval Stage \" he surprised\nme by his power to stretch back\nsome centuries and take up in his\nhand the whole of the ancient stage\nand lift it up and over the centuries and\nspread it out for us to see — but he\ndelighted me at the same time as he\ntold of things he had seen and heard\ngoing on in the Churches and on the\nmarket places; these he made to live\nagain as though seen by him only\nyesterday.\nBut this time I really am terrified\nby him. First by his awe full capa\ncity to devote twenty years to this one\nbook. Secondly by his refusal to be at all\nhuman about this old stage of Eliza's\ntime; and thirdly by his manner of\nmaking a snowball of the dust till it\nbecomes a piece of granite and then,\nwith a one-two-three, the ball is at us.\nIf he had thrown it as dust, the\ndust in our eyes would only have\nconfused us, may be blinded us; but\nto hurl the entire edifice at us is an\nexhibition of strength I hope never to\nwitness again.\nIt has hit me, anyhow.\nI had almost forgotten about His-\ntorians, for I had perceived that His-\ntory was growing too alluring to me.\nI was at the time prying in a gingerly\nway into a charming corner of histo-\nrical dust and had just discovered one\nspangle and was about to pick it up\nand declare that it was the sun of\n1612 when I was struck down by\nthis piece of granite weighing 1570\ntons; and curiously enough it has\nnot killed me.\nBut it has certainly killed all belief\nthat I might ever have had in myself as\na historian. Fled is any hope that I\nmight some day write a famous History,\nwhich, 1 will now admit, I did once\ncontemplate writing. It was to have\nbeen in about sixteen pages, this History\nof mine. It would have weighed three\nounces and a half at most. Its light-\nness would have been principally due\nto its utter incorrectness, but also not\nentirely unrelated to the fact, that I had\npromised myself there was to be no\nword, no date in it, which was not\nabsolutely true.\nBy this double process I felt I could\nsoon get my little tome ready. I would\nhave spent the preparatory years cutting\ndown all other Histories of the Stage,\nslicing out every fact which could not\npossibly be sworn to before an En-\nglish Judge and Jury; and thus out of\n500 pages of Vancona's book about\n108 lines would remain over for me;\nout of 267 pages of Rilag's book I\nshould have swept away 265 pages,\nleaving 3 over for me; out of Nan-\ntius s five volumes 4 pages would have\nbeen left, and so on and so on through\n135 books in all.\nThat which remained would still be\nopen to so very much doubt, that about\nthree quarters of it would have had to\ngo and at last the world would have\nhad my sixteen-page History of the\nStage, and the veracity of every line\neven then would have lain in question.\nBut it would have been a light easy\nbook to doubt. An example, for in-\nstance ;\nI would at first, possibly, have al-\nlowed to remain in the two dates\nwhich we take to be those on which\nShakespeare was born and died; but\nsince I believe that no one can positive-\nly swear to either, out they would go.\nu But there are documents which\nprove , etc., Documents prove noth-\ning. 44 Then why not enter the facts\nthat \" William Shakespeare was pro-\nbably born on April 22 in 1564 at\nStratford and that .... \"\nBut the word probable should never\nbe allowed to be seen inside a book\nof History; as for 44 it is possible\",\nwhat is that? Everything is possible,\nanything is probable,\n44 Well then, skip his birthday and\nput down that William Shakespeare\nwas baptised on April 26th 1564 at\nStratford\" says the man who likes\nreading histories, if not writing them.\nI would assuredly do so; but how\ndo I know that he Was baptized, or\non April 26th? Did you see him bap-\ntized in the church?\n44 I did not—but I have seen the\ndocuments signed by—\nDocuments?—signed?—But anyone\ncan falsify documents, and anyone can\nsign them in place of witnesses who\nhave suddenly dropped the pen and\nrun terrified out of the vestry, on hearing\nsome imaginary ghost swearing in the\ncellarage—or gone off may be to get a\ncup of tea or a stoup of ale.\nBut leaving that myth Shakespeare\nalone (mythical only in the Historical\nsense) how about Queen Elizabeth?\nThere we tread on sacred 18th\ncentury ground; soil which cries to us\nthat there never be any scandal about\nher;—and what would be more scan-\ndalous than to discover that she had\nnever existed?\nPeople have been found bold enough\nto whisper that our Virgin Queen\nnever did exist. As well assert that\nMr Drinkwater's plays do not contain\nsome moral platitudes. Yet how prove\nthis or anything? What we take for a\nVirgin Queen may not be all it seems;\nwhat is apparently a moral platitude\nmay be, after all, no such thing.\nHow prove it; that is all I wish\nto know.\nThe mystery of the Man in the Iron\nMask is not at all mysterious because\nhe is an obvious mystery, an odd ro-\nmantic thing, invented, we take it, for\nfun. The great Leblanc does this\nyearly and does it better.\nWhereas Shakespeare, and Queen\nEliza, and all the more solemn myste-\nries, are such prim orderly mysteries,\nthat all the world imagines they know\nall about them.\nBut all the world may be utterly\nwrong: for who knows?\nOnly yesterday, January 16th 1924,\nsomeone swore to having seen some-\nthing he had never seen, and a second\nbeing told me that he had not seen\nwhat was before him as he spoke,\nand he touching it and looking at it.\nI weary you thus solely to suggest\nthat nothing ever was or will be, but\nonly is: that what's gone doesn't count,\nnor what's to come, but what is counts\na little.... and what is perceived counts\nmore.\nAnd, to come to Hecuba, I would\nonly reassert, that which so many others\nhave stated or felt, which is, that it is\na work of art which counts most of all\nfor it is perfectly real. Art deceives,"}, {"page_pdf": 67, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 6909, "texte": "whereas History pretends not to. Art\nis a real deceiver.\nIt is even as real as the few things\nno one in his senses will deny reality\nto,—the bottle of wine, the blanket, a\nsmile, the sea and the other material\nglories.\nThe flask of wine is good to see—\nto see it tipped up and its red or white\ncontents flowing into the glass is good;\nbut perfection only is achieved as this\nwine passes into us. While it passes\nand for the moments then and there,\nand the 3600 subsequent moments,\npresuming every second of the hour\nwhich follows a glass of wine is potent.\nAfter that it is nil.\nTTTe blanket, a blessing on the cold\nnight, a delicious reality, is a curse in\nthe hot summer and autumn nights\nwhen we kick off this beastly reality.\nThe sea, delicious to look at, is some-\ntimes unbearable to hear; it moans too\nlong and too often in the rough season;\na dip in it in summer is a delight, but tco\nlong in it tires or cramps you or kills\nyou. But it is always real—pleasant\nor not.\nI know of few things which are all\nthe time perfect, as assuredly the work\nof art is. This, however slight it be,\nis itself and unchangeable: and it is\nperfect as such, because it is perfectly\nreal. Even a fragment is worth so\nmuch that some of the world's wisest\nmen fight to obtain the fragment,\nbidding and outbidding one another.\nAnd the victorious connoisseur on get-\nting it home sits in his chair, turns his\nhead sideways to discover his immense\ncontent that there is the fragment. You\nrecall how Daumier, (or someone calling\nhimself Daumier) gives you this sense of\nperfect contentment in his lithograph\nor is it a drawing?\nArgue how it will, the whole po-\npulation of the earth cannot say 44 your\nfragment is non-existent \".\nON coming to read for the second\ntime this book on 44 The Elizabethan\nStage\" we learn that it is, in the pure\nhistorical sense, a masterly work; more\nnear to perfection than any work in\nEnglish on the stage that has preceeded\nit, except the same author's 44 The Me-\ndiaeval Stage \".\nAs for faults; well, perhaps the\nwork is three limes too long; like\nVanburgh's houses; may be there is\ntoo much space: possibly too many\nrooms for a twentieth century family\nto live in it comfortably. If I want\nto go to breakfast I have a twenty-\nfive minute walk before I get to the\ndining-room; if I wish to catch a train\nI have to allow half an hour extra to\nget out of the house. And so with\nthis book.\nThe period of time covered is\nnot several centuries; it all happened\nbetween 1558 and 1616 ; fifty-eight\nyears in all (if it really happened).\nYet as we read we wish the author\ncould be more curt, a little less ro-\nmantic and more human with his pen;\nsomething more in the style of that most\nfamous of all the histories which begins.\nWilliam the Conqueror 1066\nWilliam Rufus 1087\nand which ends\nGeorge V 1910.\nWhereas Mr Chambers begins his\nbook by talking delightfully to us about\n\"the psychology of the folk\", \"the\nnation's destiny\", and 4 4 Elizabeth\"\nwho was 44 a young and attractive\nqueen \".\nAll of which I, masquing as an\nadamantine critic for the moment, con-\ntend has nothing to do with stark history.\nThe same may be said of Monnier's\nsuperb 44 Venice in the 18th Century\"\nand Strachey's 44 Queen Victoria \":\nthose were masterpieces constructed out\nof facts and coloured by fancy; not a\nfact but was 44 a fact \", but—and here\nit was they triumphed—not one fact\nthat wasn't lost in the delicious fantasy\nof two great artists.\nThe path Chambers might have taken\nwould have led him away from temp-\ntation. But he thought that a middle\ncourse was best, and many a wise man\nhas thought like him.\nThe result is that what should have\nbeen a swift two hundred pages of\nbrilliant prose or a slow hundred pages\nof bony fact in chronological order, is\nnor one nor t'other, but a long drawn-\nout sequence of brilliant pages which\nflicker and go out and have to be re-\nlighted by the continual use of those\ncross references, the close packed little\nallumets in the Appendixes, Notes and\nother, too-well, hidden places.\nAnd here in these hidden away\nplaces we do come to the splendid\nhistory pure history ; to something\nwhich, while it is obviously open to\ndoubt, is not made more doubtful by\nany covering; its facts are laid bare.\nI refer to the Lists. Appendix A\nconsists of a Court Calendar for 1558\nto 1616 and is contained in fifty-five\npages. Appendix B consists of Court\nPayments 1558 to 1616; and this in\nforty-one pages.\nThen in Vol. 11l we have a list of\nPlaywrights in Alphabetical order, three\nhundred and eighteen pages.\nBut I find this is too long a list, and\nnot as easy to read as the liberty of\nthree hundred and eighteen pages ought\nto have made it,—or; had the Histo-\nrical spirit been sterner, as fifty would\nhave made it.\nFor if I am to have a long three-\nhundred-page list the author must\nsweeten it by imagination even as\nMonnier calls in Imagination to that\nend. Three hundred pages without it\nis somehow a pity.\nALL this has been merely to suggest\nthat what is, is a reality, and only\nfor the Hour that it lives; and that the\nactualities of the Hour, and the art of\nall time, come into the same category\nof the Hour—the real: and History,\nhowever perfect, belongs to another ca-\ntegory, that of the unreal: so my last\nas my first thoughts resolve themselves\ninto one question, 44 What, I wonder,\ndoes this masterly student of the unreal\nTheatre think of the real Theatre—of\nthe Theatre as the home of an art, ie,\nthe Dramatic art, the theatre of the\nhour? ' Those two unrealities, the\nPast and the Future, put me often\nunder their spell, but to me their rela-\ntion to the Present is like that of the\nEast to the West. I live in the cen-\ntral part of the world, and whether I\nlike or dislike the civilization of our\npart of the globe, it is the only real\none for me. All else is past or future.\nChina or America, however fulfilled or\npromising, are but fragments, incom-\nplete unless I bring all I know of them\nto bear upon the problems of this\nplace—Europe, and this day, 1924.\nAnd so I feel I have some right in\nexpressing my curiosity as to what\nMr Chambers thinks of the Stage\ntoday. Should we go back and revive\nthe conditions of the stage of Eliza-\nbeth's time? and if so how may that\nbe done? Are we fso hopelessly *in\na muddle that we can neither return\nto better conditions, nor even find a\nscholar something good for his enter-\ntainment? Or has he found something\nin our Theatre which entertains him\nafter his work is now done? Will he\nnot relax now, and, breaking the ice,\ntell us frankly what it is which does\nentertain him in the Georgian stage?\n\nE. G. C.\n\nA LIVING UNIVERSE. Three\nHibhert Lectures by L. P. Jacks, D. D.,\nL. L. D., D. Lit.; Hodder & Stough-\nton. London.\nDr. Jacks writes of Education, of\nReligion, of Christianity, of Go-\nvernment, of Immortality, of most\nthings. He says some noble things\nand practical things. Someone, I\nthink it was the Dramatic Critic of"}, {"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 6713, "texte": "\"The Times0 again, twisting Dr. Jacks's\nwords somehow or other, made him out\nto be uttering nonsense: said he had\n\" a new view of Shakespeare \".\nThis was because Dr. Jacks expres-\nsed one of the oldest \" views \" ever\nheld by man: which was, that a thing\nacted conveys to the spectator some-\nthing which the same thing when merely\nread does not convey.\n\"Go thou and do likewise\" says\nDr. Jacks, is a motto worth while:\nwhereas \"go thou and say likewise \"\nnever possessed the same value.\nAnd he holds that the action of a\nplay can reveal more than the mere\nwords can. Seen happenning, the act\nstrikes home to us; read of in the arm\nchair it loses much of its power.\nI think this is what he means.\nBut his concern is with the greater\nstage, Lear's Stage of fools, rather\nthan with the stage of the theatre.\nMine, begins and ends with the\ntheatre.\nDr. Jacks dislikes the notion that\nartists should talk of art instead of\npractising it, which is a very natural\ndislike ; but what would you have ?\nThe artist does a good deal, it seems\nto me, under the circumstances. I\nknow quite a number of artists, very\nordinary folk, with this remarkable\nthing about them; they live practically\nupon air. It is therefore not surprising\nif they indulge in a good deal of talk.\nOn the Gontinent they sit in cafes brea-\nthing in their food and talking of art\nbecause may-be their bedroom looks\non to a wet wall of an inner court, is\nwithout air, or is infested with things,\n... mice, etc. ... and they cannot find\na better. It is not so jolly as a well\nlighted cafe in the winter, and in the\nspring they begin to sing and to talk\nof other things: in the summer they\nforget what it is they said; in the autumn\nthey remember that winter is coming\non apace. And they buy one another's\ndrawings. These are the little artists.\nOf course the great artists are other-\nwise : they have a special liking for\nhot drinks and good luncheons and at\nbanquets they too talk of art,... never\nforgetting to act in a very strange\nway almost regularly ; ie. they buy the\nless successful artists' drawings and\npaintings.\nAs time goes by, and worries increase,\nand money does not come in as re-\ngularly as it would if they could be\nonly a bit more civilized and-educated,\nthey notice this stand-offishness of\nmoney, and begin to think things out\nfor themselves afresh. In short, they\nbegin to educate themselves when it's\na little late.\nThis leads them in time to realize\nthat if they are to get through the\nyear without too much discomfort to\nthemselves, wives and children, (for\nthey often have families) they must\npositively manage to make £2OO for\nthe three of them.\nNow how to make £2OO. All\ntalk of art must go on if the sum is\nnot to dwindle to £lOO, for it is up\nto every artist to become his own press\nagent nowadays, ....a luxury Head-mas-\nters and Generals and other useful men\nare spared. The artist is an absolutely\nuseless person. Trust Democracy to\nhave made that certain.\nNo doubt Dr. Jacks has carefully\nread a book on and by a mad fellow\ncalled Van Gogh; those \" Letters of a\nPost-Impressionist \". Constable is the\npublisher. The poor wretch is the\nwhole time talking about art. He\nworks at his art daily, but as no one\nwants it he doesn't sell it, ... and he\ntalks on and on. Then he dies. Instantly\neveryone buys up cheaply all he has\ndone to sell it before long for thous-\nands of pounds. Just the amount he\nneeded to let him live and be of use.\nIf Dr. Jacks could give a series of\nlectures on how naughty it is for people\nto speculate in the work of painters,\nsculptors and others, would life be\neasier for any of the artists ? No.\nSomething would have to be done, not\nmerely said.\nMeantime if art is on the decline it is\nnot because the artists talk but because\nnothing is done by those in power,—\nat Oxford —let alone in London.\nThe artists are a pious lot of rogues,\nI know, and not worth much; but\ntheir work is sometimes rather happy.\nPrevent that traffic in it, Dr. Jacks,\nwhich renders it unhappy and ugly :\nif you have it in your power; it would\nindeed be doing something every one is\ntalking about.\nAnd as for speech, give us some\nmore Hibbert Lectures, one being on\nPrime Minister Mussolini, a man who\n\" goes and does likewise \".\n\nW. S. GILBERT, HIS LIFE AND\nLETTERS. Sidney Dark and Row-\nland Grey. Illustrated. Methuen. 15/—\nTHERE are enchanting verses and\nsketches by Gilbert in this volume.\nNumbers of amusing anecdotes and\nmany a valuable one too; shrewd\njudgements on English Theatres' and\nactors, make up a book which could\nonly have been better had Gilbert\nwritten it all himself. As it is, about\nhalf of it is from his pen, and the\nother half is well and carefully done.\n\nOUR AMERICAN THEATRE by\nOliver Sayler. Brentano's.\nTHE title is wrong to begin with.\nIt might be more reasonably called\n\" The Theatre in America An-\nother title might have been \" Push, ....\nor how to spoil everything\nThe fault is not Mr. Sayler's for\nhis other books have been very inte-\nresting. The fault is Broadway's. The\nAmerican Theatre will come along\nassuredly, but it is yet too early to\nwrite a book about it. When the book\nis written, all the facts will cluster\nround some one name.\nHad Mr, Sayler thought for some\nmoments and asked himself, \" who is\nfar and away the greatest American\nfigure that has appeared in our land ?\n—who next?—how related \", and then\nlooked around and found the other\nsix or seven related to these and\navoided all mention of Europeans, he\nwould have written a small book but\none which would live. We hope he\nmay yet come to write it.\n\nFLOWER IN DRAMA by Stark\nYoung. Scribner's, $1.50.\nIT will interest many of those who\nlike to learn that the Theatre is not\nwholly the blatant place they still suspect\nit is. The writer has woven fifteen\nessays into a small book, and each\nessay is graceful, and a number of\nsensible things are said in each.\nEveryone should buy the book and\nput it by the side of his collection of\nNathan. Nathan and Young are not at\nall alike. Nathan cannot help slapstick-\ning; Young cannot help being restrained.\nAn excellent pair for New York,\n\nPL A YS FOR A FOLDING THEA-\nTRE by C. C. Clements. Stewart\nKidd Co. $2.00,\nIN these trifles we see the writer has\nbeen tempted by a large canvas and\nhas filled it with a little picture. Tak-\ning a small field as a theme,.... some\neveryday happening in America .... and\ngetting rid of his own personal emo-\ntions, the writer should make us a\ngood play in time. I like beginnings\nwhich do not quite succeed. I prefer\nthose which entirely fail to those which\nare perfect. Mr. Clements will go on\nand do better.\n\nANTON CHEHOV by W. Ger-\nhardi. R. Cobden-Sanderson. 7/6 net.\nI was unfortunate and my critical\nspirit was weaker than ever when I"}, {"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 6463, "texte": "struggled with this book, for I had\njust been reading Regnard and Lesage\nand I found that Chehov would not\ndo, No, he will not do. And Mr.\nGerhardi's book sounds all the time\nas though it were propaganda.\nI do not like art which depresses.\nGogol has given us 44 Rivisor \", so that\nwe know that Russia is able to write\na real play, .... can realize what is a\nTheatre and why people go to Theatres.\nIn a Russian Theatre I, of course,\ntumble to Chehov immediately; it is\nall so prettily sad; so whispered and\nwistful, and it can be exceedingly\nbeautiful. But it wont do out of Rus-\nsia. Even in Russia I found that the\nmore aristocratic people had no use\nwhatever for these plays. Grief, suf-\nfering and medicine are not enough,\n.... and a very very little goes a long\nway on the stage.\nThese plays preceeded the Revolu-\ntion, and I should say helped very\ngreatly towards making it inevitable.\nThat Chehov is immensely clever,\nhas the soul of a poet, and must\nhave been a delightful being, does not\nalter my impression that such work as\nhe produced is not what is wanted in\na Theatre. It helps to kill the specta-\ntor; it gives him nothing.\n\nA HISTORY OF THE REFOR-\nMATION DRAMA 1660-1700\nby Allardyce Nicoll. Cambridge Uni-\nversity Press. 16/-net.\nA BOOK of four hundred pages\ndevoted to forty years of our\nEnglish Drama and its Playhouse with\nvaluable lists and a good index. Ob-\nviously the book on this subject, al-\nthough I shall always have a special\nliking for Mr. John Palmer's 44 The\nComedy of Manners\" in which the\nwriters and their way of thinking and\nwriting comes out to me more clearly.\nI envy Mr. Nicoll his powers. This\nit is which reminds me how good is\nhis work even if I should ever doubt\nit; but I wish he would spell the name\nof one of my favourite actors properly.\nTiberio Fiorilli should never have his\nsurname written Fiorelli.\n\nTHE WINDMILL. Edited by L. Cal-\nlender. Heinemann. 8/6-net.\nTHE Windmill, published by Hei-\nnemann, offers us many a dozen\ngood bits of reading by Beerbohm,\nConrad, Galsworthy, Masefield, and\nall the best writers whose work Hei-\nnemann and Co issue from their press.\nWe missed some of Mr. Nicholson's\nwoodcuts.\n\nMASKS AND DEMONS by K.\nMcGotoan and H. Rosse. Harcourt\nBrace & Co.\nTHIS is a first-class collection of\nphotographs of some of the best\nMasks in existence. Arlechino's and\nPantalone's are missing .... which is a\ngreat pity.\nThere is room for another book by\nthese authors on the same subject, in\nrather lighter vein, less about Gods\nand more about Masks and how they\ncome to be made.\n\nFOUR FRENCH COMEDIES OF\nTHE XVII CENTURY. Regnard,\nLesage, Marivaux, Destouches: Tran-\nslated by Richard Aldington. Rout-\nledge. 7/ 6-net.\nMESSRS Routledge and Sons are\nto be heartily thanked for giving\nus a translation of four of the French\nComedies of the seventeenth century.\nRegnard, Lesage, Marivaux and Des-\ntouches are all represented, and Ri-\nchard Aldington the translator has\ngenerously given us their four Memoirs.\nPrettily and well bound, the book\nis blessedly cheap.\nBut how brilliantly Moliere shines\nout in his least farce after having read\nthe very best work of these four mas-\nters. Still, read them if you want\nsomething good to read, for even in a\ntranslation they are a delight.\n\nLIFE OF WILLIAM SHAKES-\nPEARE by J. Quincy Adams. Con-\nstable. 21/-.\nIT is all very well, but there are too\nmany lives of this man and I want\nto see them all rendered null and void\nby the appearance of a book of forty\nto fifty pages recording all that is ab-\nsolute fact and nothing such as 44 when\nShakespeare retired from acting we\ncannot say for evidence is lacking.\nYet we may suspect that it preceded\nhis withdrawal from the less taxing\nand more congenial labour of compo-\nsition \".\nI quote from this, the latest, Life\nof William Shakespeare; and, while I\nmust admit that I have enjoyed reading\na good part of the book, I have only\nbeen able to do this by telling myself\nthat it was all gospel. And of course\nit is no such thing.\nBut I do not believe the legend has\never before been told quite as well,\nand so this is the Life to purchase.\nThe book has an excellent Index,\nsome sixty excellent plates. It is well\nprinted and costs only twenty-one\nshillings, which for Constable and Co\nis an improvement, some of their books\nbeing unnecessarily costly.\n\nSARAH BERNHARDT by Sir\nGeorge Arthur. Heinemanri. 6/-net.\nTHE REAL SARAH BERN-\nHARDT by Mme Pierre Berton\nand Basil Woon. Boni & Liveright.\nU. S. A. $3.50.\nTWO books on Sarah Bernhardt,\nand both are readable.\nSir George Arthur's is the best, and\nis a very agreable little volume of 178\nsmall pages on a complicated persona-\nlity, (it's the acting which complicates),\nwhich could hardly be done justice to\nin less than 300 large pages. But I\nknow of no biography which gives a\nbetter picture or a truer one of the\ngreat actress and the celebrated woman.\nIt contains many a new fact, and\nthe author makes his points well. It\nis not without significance that he was\nbut nineteen years old when Bernhardt\nfirst came to London in 1879. He\nwrites with all the charm of a young\nman of nineteen and with the added\ngrace of years.\nMme. Pierre Berton writes differently:\nshe prefers not to write at all: she talks\nto Mr Basil Woon and tells him a\nnumber of things which interest me,\nand others which remind me that it\nis an actress who is speaking. For\nexample, she begins in this fashion:\n\"For all my intimacy with Sarah\n44 Bernhardt I find it difficult to believe\n\" that she loved me. I think that,\n\" on the contrary, she distrusted me,\n44 and I even believe that at times she\n4 4 hated me, because it was I, and not\n44 she, who married Pierre Berton.\n44 Yet she confided in me \", etc., etc.\nThese are the first five lines of the\nbook, and the rest of it is like these five\nlines; sparkling incidents, secrets, bril-\nliant pictures, threaded on to a tape.\nThere is a very great deal about\nBernhardt's violence: in this book she\nis made to abuse people right and\nleft in the language used by 44 Nana \",\nthat amazing book on the Theatre\nwritten by Zola about the time of\nBernhardt's prime.\nMadame Berton is curiously rude to\nM. Maurice Bernhardt; but then, in\nmy opinion, she is as rude to the Mo-\nther. Altogether a whiff of les cou-\nlisses ; small-minded, false minded and\nmalicious.\nIf this story of Bernhardt reflect the\nlife of the French Theatre of our age,\nit is indeed time for actors and\nactresses to begin to exercise their\nminds ; for there seem to be a half"}, {"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "debut_caractere": 0, "fin_caractere_exclue": 2455, "texte": "dozen important things about life and\nabout art which they have failed to\napprehend, and which, when realized\nby them, will help greatly towards\nbringing the work of the Theatre in\nline with the other arts.\nIn short, the book is a revelation\nof how limited is the intelligence of\nthe actor and actress, especially the\nactress; and for this reason I naturally\ndislike the book intensely, and wish to\nexpress clearly that I consider it a\nfalse portrait of this remarkable lady\nwho is but lately dead.\n\nBRITISH DRAMA LEAGUE\nPLAYS Published by Basil Black-\nwell. Oxford. 3/6 each.\nOF the first eight volumes of Plays\npublished by Mr Blackwell of\nOxford for the British Drama League,\nI think the best two are, Mr. W. J.\nTurner's 44 Popomack \" and Miss Gwen\nJohn's 44 The Prince \".\nMiss John does all so nicely, so\ndelicately : she is original but not out-\nrageously original, and if much in her\nplay is dramatic and theatrical, all is\ndistinguished. Where things halt at\nall, it is for the theatre folk to busy\nabout and use their wits. I hope the\ngifted authoress is planning more plays.\nOn page 51, says Miss John in her\n44 Emendations \", we are to delete the\ncomma after the word 44 Juno \". No\ncomma has turned up so far, but, if\nit dares to, we will delete. There is\none after the word 44 Diana \". I\nwonder if we may delete that.\nMr. W. J. Turner in his 44 Popo-\nmack \" play does enough to prove\nthat he knows how to write a play.\nThat is not always one of the concerns\nof the modern playwriter, and I can\nbut be grateful when I am made\naware of this.\nTo begin with he does not hesitate;\nhe does not chatter; he raises his cur-\ntain and at once you are delighted.\nHis people talk and you listen eagerly.\nI cannot say as much for most\nplay writers, who, even if they can be\nall things on earth, and yet fail to bring\nyou to listen eagerly, have failed in\nall which counts.\nHaving got you to look and to lis-\nten, Mr Turner goes on to to interest\nyou by all sorts of devices, and then\nyou begin to smile and grow excited.\nWere he to bring an elephant on to\nthe stage or show you a meeting of\nangels in Paradise you would be held ;\nand what duller theme, what sillier\nlcoking animal ?\nAdd to all this that, when he is\ncomic he is ever grave, and when se-\nrious always merry, and you have some\nidea of what I mean when I say that\nhere is someone who knows how to\nwrite a play, ....a modern play ...,even\nif this be not yet the play which is\nto prove it to you."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c046", "article_bluemountain": "bmtnaau_1924-07_01#c046", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "133", "image_debut": 66, "image_fin": 67, "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=bmtnaau192407-01.2.15.2", "titre_corps": "THE SHAKESPEAREAN STAGE by E. K. Chambers", "titre_sommaire": "THE SHAKESPEAREAN STAGE by E. K. Chambers", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.66", "debut_caractere": 15, "fin_caractere_exclue": 6414, "texte": "THE SHAKESPEAREAN STAGE\nby E. K. Chambers. 4 Vols. £ 3.10.0\nClarendon Press.\n\nShakespeare Stage and Georgian Stage.\nHOW I would like to know exactly\nwhat Mr E. K. Chambers feels\nand thinks about the Theatre of our\nage, the Georgian stage, now that he\nhas finished his amazing book on the\nElizabethan Stage.\nI am aware that this curiosity of\nmine may be rather out of place: may\nbe in the worst of taste, but there it is.\nIt is at its best only a word put in,\non behalf of today, for these four vo-\nlumes of 44 The Elizabethan Stage **\nare all for yesterday and for tomorrw.\nChambers is a giant of sorts. I\nwas always greatly impressed by him; in\nhis 44 Mediaeval Stage \" he surprised\nme by his power to stretch back\nsome centuries and take up in his\nhand the whole of the ancient stage\nand lift it up and over the centuries and\nspread it out for us to see — but he\ndelighted me at the same time as he\ntold of things he had seen and heard\ngoing on in the Churches and on the\nmarket places; these he made to live\nagain as though seen by him only\nyesterday.\nBut this time I really am terrified\nby him. First by his awe full capa\ncity to devote twenty years to this one\nbook. Secondly by his refusal to be at all\nhuman about this old stage of Eliza's\ntime; and thirdly by his manner of\nmaking a snowball of the dust till it\nbecomes a piece of granite and then,\nwith a one-two-three, the ball is at us.\nIf he had thrown it as dust, the\ndust in our eyes would only have\nconfused us, may be blinded us; but\nto hurl the entire edifice at us is an\nexhibition of strength I hope never to\nwitness again.\nIt has hit me, anyhow.\nI had almost forgotten about His-\ntorians, for I had perceived that His-\ntory was growing too alluring to me.\nI was at the time prying in a gingerly\nway into a charming corner of histo-\nrical dust and had just discovered one\nspangle and was about to pick it up\nand declare that it was the sun of\n1612 when I was struck down by\nthis piece of granite weighing 1570\ntons; and curiously enough it has\nnot killed me.\nBut it has certainly killed all belief\nthat I might ever have had in myself as\na historian. Fled is any hope that I\nmight some day write a famous History,\nwhich, 1 will now admit, I did once\ncontemplate writing. It was to have\nbeen in about sixteen pages, this History\nof mine. It would have weighed three\nounces and a half at most. Its light-\nness would have been principally due\nto its utter incorrectness, but also not\nentirely unrelated to the fact, that I had\npromised myself there was to be no\nword, no date in it, which was not\nabsolutely true.\nBy this double process I felt I could\nsoon get my little tome ready. I would\nhave spent the preparatory years cutting\ndown all other Histories of the Stage,\nslicing out every fact which could not\npossibly be sworn to before an En-\nglish Judge and Jury; and thus out of\n500 pages of Vancona's book about\n108 lines would remain over for me;\nout of 267 pages of Rilag's book I\nshould have swept away 265 pages,\nleaving 3 over for me; out of Nan-\ntius s five volumes 4 pages would have\nbeen left, and so on and so on through\n135 books in all.\nThat which remained would still be\nopen to so very much doubt, that about\nthree quarters of it would have had to\ngo and at last the world would have\nhad my sixteen-page History of the\nStage, and the veracity of every line\neven then would have lain in question.\nBut it would have been a light easy\nbook to doubt. An example, for in-\nstance ;\nI would at first, possibly, have al-\nlowed to remain in the two dates\nwhich we take to be those on which\nShakespeare was born and died; but\nsince I believe that no one can positive-\nly swear to either, out they would go.\nu But there are documents which\nprove , etc., Documents prove noth-\ning. 44 Then why not enter the facts\nthat \" William Shakespeare was pro-\nbably born on April 22 in 1564 at\nStratford and that .... \"\nBut the word probable should never\nbe allowed to be seen inside a book\nof History; as for 44 it is possible\",\nwhat is that? Everything is possible,\nanything is probable,\n44 Well then, skip his birthday and\nput down that William Shakespeare\nwas baptised on April 26th 1564 at\nStratford\" says the man who likes\nreading histories, if not writing them.\nI would assuredly do so; but how\ndo I know that he Was baptized, or\non April 26th? Did you see him bap-\ntized in the church?\n44 I did not—but I have seen the\ndocuments signed by—\nDocuments?—signed?—But anyone\ncan falsify documents, and anyone can\nsign them in place of witnesses who\nhave suddenly dropped the pen and\nrun terrified out of the vestry, on hearing\nsome imaginary ghost swearing in the\ncellarage—or gone off may be to get a\ncup of tea or a stoup of ale.\nBut leaving that myth Shakespeare\nalone (mythical only in the Historical\nsense) how about Queen Elizabeth?\nThere we tread on sacred 18th\ncentury ground; soil which cries to us\nthat there never be any scandal about\nher;—and what would be more scan-\ndalous than to discover that she had\nnever existed?\nPeople have been found bold enough\nto whisper that our Virgin Queen\nnever did exist. As well assert that\nMr Drinkwater's plays do not contain\nsome moral platitudes. Yet how prove\nthis or anything? What we take for a\nVirgin Queen may not be all it seems;\nwhat is apparently a moral platitude\nmay be, after all, no such thing.\nHow prove it; that is all I wish\nto know.\nThe mystery of the Man in the Iron\nMask is not at all mysterious because\nhe is an obvious mystery, an odd ro-\nmantic thing, invented, we take it, for\nfun. The great Leblanc does this\nyearly and does it better.\nWhereas Shakespeare, and Queen\nEliza, and all the more solemn myste-\nries, are such prim orderly mysteries,\nthat all the world imagines they know\nall about them.\nBut all the world may be utterly\nwrong: for who knows?\nOnly yesterday, January 16th 1924,\nsomeone swore to having seen some-\nthing he had never seen, and a second\nbeing told me that he had not seen\nwhat was before him as he spoke,\nand he touching it and looking at it.\nI weary you thus solely to suggest\nthat nothing ever was or will be, but\nonly is: that what's gone doesn't count,\nnor what's to come, but what is counts\na little.... and what is perceived counts\nmore.\nAnd, to come to Hecuba, I would\nonly reassert, that which so many others\nhave stated or felt, which is, that it is\na work of art which counts most of all\nfor it is perfectly real. Art deceives,"}, {"page_pdf": 67, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 6589, "texte": "whereas History pretends not to. Art\nis a real deceiver.\nIt is even as real as the few things\nno one in his senses will deny reality\nto,—the bottle of wine, the blanket, a\nsmile, the sea and the other material\nglories.\nThe flask of wine is good to see—\nto see it tipped up and its red or white\ncontents flowing into the glass is good;\nbut perfection only is achieved as this\nwine passes into us. While it passes\nand for the moments then and there,\nand the 3600 subsequent moments,\npresuming every second of the hour\nwhich follows a glass of wine is potent.\nAfter that it is nil.\nTTTe blanket, a blessing on the cold\nnight, a delicious reality, is a curse in\nthe hot summer and autumn nights\nwhen we kick off this beastly reality.\nThe sea, delicious to look at, is some-\ntimes unbearable to hear; it moans too\nlong and too often in the rough season;\na dip in it in summer is a delight, but tco\nlong in it tires or cramps you or kills\nyou. But it is always real—pleasant\nor not.\nI know of few things which are all\nthe time perfect, as assuredly the work\nof art is. This, however slight it be,\nis itself and unchangeable: and it is\nperfect as such, because it is perfectly\nreal. Even a fragment is worth so\nmuch that some of the world's wisest\nmen fight to obtain the fragment,\nbidding and outbidding one another.\nAnd the victorious connoisseur on get-\nting it home sits in his chair, turns his\nhead sideways to discover his immense\ncontent that there is the fragment. You\nrecall how Daumier, (or someone calling\nhimself Daumier) gives you this sense of\nperfect contentment in his lithograph\nor is it a drawing?\nArgue how it will, the whole po-\npulation of the earth cannot say 44 your\nfragment is non-existent \".\nON coming to read for the second\ntime this book on 44 The Elizabethan\nStage\" we learn that it is, in the pure\nhistorical sense, a masterly work; more\nnear to perfection than any work in\nEnglish on the stage that has preceeded\nit, except the same author's 44 The Me-\ndiaeval Stage \".\nAs for faults; well, perhaps the\nwork is three limes too long; like\nVanburgh's houses; may be there is\ntoo much space: possibly too many\nrooms for a twentieth century family\nto live in it comfortably. If I want\nto go to breakfast I have a twenty-\nfive minute walk before I get to the\ndining-room; if I wish to catch a train\nI have to allow half an hour extra to\nget out of the house. And so with\nthis book.\nThe period of time covered is\nnot several centuries; it all happened\nbetween 1558 and 1616 ; fifty-eight\nyears in all (if it really happened).\nYet as we read we wish the author\ncould be more curt, a little less ro-\nmantic and more human with his pen;\nsomething more in the style of that most\nfamous of all the histories which begins.\nWilliam the Conqueror 1066\nWilliam Rufus 1087\nand which ends\nGeorge V 1910.\nWhereas Mr Chambers begins his\nbook by talking delightfully to us about\n\"the psychology of the folk\", \"the\nnation's destiny\", and 4 4 Elizabeth\"\nwho was 44 a young and attractive\nqueen \".\nAll of which I, masquing as an\nadamantine critic for the moment, con-\ntend has nothing to do with stark history.\nThe same may be said of Monnier's\nsuperb 44 Venice in the 18th Century\"\nand Strachey's 44 Queen Victoria \":\nthose were masterpieces constructed out\nof facts and coloured by fancy; not a\nfact but was 44 a fact \", but—and here\nit was they triumphed—not one fact\nthat wasn't lost in the delicious fantasy\nof two great artists.\nThe path Chambers might have taken\nwould have led him away from temp-\ntation. But he thought that a middle\ncourse was best, and many a wise man\nhas thought like him.\nThe result is that what should have\nbeen a swift two hundred pages of\nbrilliant prose or a slow hundred pages\nof bony fact in chronological order, is\nnor one nor t'other, but a long drawn-\nout sequence of brilliant pages which\nflicker and go out and have to be re-\nlighted by the continual use of those\ncross references, the close packed little\nallumets in the Appendixes, Notes and\nother, too-well, hidden places.\nAnd here in these hidden away\nplaces we do come to the splendid\nhistory pure history ; to something\nwhich, while it is obviously open to\ndoubt, is not made more doubtful by\nany covering; its facts are laid bare.\nI refer to the Lists. Appendix A\nconsists of a Court Calendar for 1558\nto 1616 and is contained in fifty-five\npages. Appendix B consists of Court\nPayments 1558 to 1616; and this in\nforty-one pages.\nThen in Vol. 11l we have a list of\nPlaywrights in Alphabetical order, three\nhundred and eighteen pages.\nBut I find this is too long a list, and\nnot as easy to read as the liberty of\nthree hundred and eighteen pages ought\nto have made it,—or; had the Histo-\nrical spirit been sterner, as fifty would\nhave made it.\nFor if I am to have a long three-\nhundred-page list the author must\nsweeten it by imagination even as\nMonnier calls in Imagination to that\nend. Three hundred pages without it\nis somehow a pity.\nALL this has been merely to suggest\nthat what is, is a reality, and only\nfor the Hour that it lives; and that the\nactualities of the Hour, and the art of\nall time, come into the same category\nof the Hour—the real: and History,\nhowever perfect, belongs to another ca-\ntegory, that of the unreal: so my last\nas my first thoughts resolve themselves\ninto one question, 44 What, I wonder,\ndoes this masterly student of the unreal\nTheatre think of the real Theatre—of\nthe Theatre as the home of an art, ie,\nthe Dramatic art, the theatre of the\nhour? ' Those two unrealities, the\nPast and the Future, put me often\nunder their spell, but to me their rela-\ntion to the Present is like that of the\nEast to the West. I live in the cen-\ntral part of the world, and whether I\nlike or dislike the civilization of our\npart of the globe, it is the only real\none for me. All else is past or future.\nChina or America, however fulfilled or\npromising, are but fragments, incom-\nplete unless I bring all I know of them\nto bear upon the problems of this\nplace—Europe, and this day, 1924.\nAnd so I feel I have some right in\nexpressing my curiosity as to what\nMr Chambers thinks of the Stage\ntoday. Should we go back and revive\nthe conditions of the stage of Eliza-\nbeth's time? and if so how may that\nbe done? Are we fso hopelessly *in\na muddle that we can neither return\nto better conditions, nor even find a\nscholar something good for his enter-\ntainment? Or has he found something\nin our Theatre which entertains him\nafter his work is now done? Will he\nnot relax now, and, breaking the ice,\ntell us frankly what it is which does\nentertain him in the Georgian stage?\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c047", "article_bluemountain": "bmtnaau_1924-07_01#c047", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "134", "image_debut": 67, "image_fin": 68, "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=bmtnaau192407-01.2.15.3", "titre_corps": "A LIVING UNIVERSE by L.P. Jacks", "titre_sommaire": "A LIVING UNIVERSE by L.P. Jacks", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.67", "debut_caractere": 6591, "fin_caractere_exclue": 6909, "texte": "A LIVING UNIVERSE. Three\nHibhert Lectures by L. P. Jacks, D. D.,\nL. L. D., D. Lit.; Hodder & Stough-\nton. London.\nDr. Jacks writes of Education, of\nReligion, of Christianity, of Go-\nvernment, of Immortality, of most\nthings. He says some noble things\nand practical things. Someone, I\nthink it was the Dramatic Critic of"}, {"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 4219, "texte": "\"The Times0 again, twisting Dr. Jacks's\nwords somehow or other, made him out\nto be uttering nonsense: said he had\n\" a new view of Shakespeare \".\nThis was because Dr. Jacks expres-\nsed one of the oldest \" views \" ever\nheld by man: which was, that a thing\nacted conveys to the spectator some-\nthing which the same thing when merely\nread does not convey.\n\"Go thou and do likewise\" says\nDr. Jacks, is a motto worth while:\nwhereas \"go thou and say likewise \"\nnever possessed the same value.\nAnd he holds that the action of a\nplay can reveal more than the mere\nwords can. Seen happenning, the act\nstrikes home to us; read of in the arm\nchair it loses much of its power.\nI think this is what he means.\nBut his concern is with the greater\nstage, Lear's Stage of fools, rather\nthan with the stage of the theatre.\nMine, begins and ends with the\ntheatre.\nDr. Jacks dislikes the notion that\nartists should talk of art instead of\npractising it, which is a very natural\ndislike ; but what would you have ?\nThe artist does a good deal, it seems\nto me, under the circumstances. I\nknow quite a number of artists, very\nordinary folk, with this remarkable\nthing about them; they live practically\nupon air. It is therefore not surprising\nif they indulge in a good deal of talk.\nOn the Gontinent they sit in cafes brea-\nthing in their food and talking of art\nbecause may-be their bedroom looks\non to a wet wall of an inner court, is\nwithout air, or is infested with things,\n... mice, etc. ... and they cannot find\na better. It is not so jolly as a well\nlighted cafe in the winter, and in the\nspring they begin to sing and to talk\nof other things: in the summer they\nforget what it is they said; in the autumn\nthey remember that winter is coming\non apace. And they buy one another's\ndrawings. These are the little artists.\nOf course the great artists are other-\nwise : they have a special liking for\nhot drinks and good luncheons and at\nbanquets they too talk of art,... never\nforgetting to act in a very strange\nway almost regularly ; ie. they buy the\nless successful artists' drawings and\npaintings.\nAs time goes by, and worries increase,\nand money does not come in as re-\ngularly as it would if they could be\nonly a bit more civilized and-educated,\nthey notice this stand-offishness of\nmoney, and begin to think things out\nfor themselves afresh. In short, they\nbegin to educate themselves when it's\na little late.\nThis leads them in time to realize\nthat if they are to get through the\nyear without too much discomfort to\nthemselves, wives and children, (for\nthey often have families) they must\npositively manage to make £2OO for\nthe three of them.\nNow how to make £2OO. All\ntalk of art must go on if the sum is\nnot to dwindle to £lOO, for it is up\nto every artist to become his own press\nagent nowadays, ....a luxury Head-mas-\nters and Generals and other useful men\nare spared. The artist is an absolutely\nuseless person. Trust Democracy to\nhave made that certain.\nNo doubt Dr. Jacks has carefully\nread a book on and by a mad fellow\ncalled Van Gogh; those \" Letters of a\nPost-Impressionist \". Constable is the\npublisher. The poor wretch is the\nwhole time talking about art. He\nworks at his art daily, but as no one\nwants it he doesn't sell it, ... and he\ntalks on and on. Then he dies. Instantly\neveryone buys up cheaply all he has\ndone to sell it before long for thous-\nands of pounds. Just the amount he\nneeded to let him live and be of use.\nIf Dr. Jacks could give a series of\nlectures on how naughty it is for people\nto speculate in the work of painters,\nsculptors and others, would life be\neasier for any of the artists ? No.\nSomething would have to be done, not\nmerely said.\nMeantime if art is on the decline it is\nnot because the artists talk but because\nnothing is done by those in power,—\nat Oxford —let alone in London.\nThe artists are a pious lot of rogues,\nI know, and not worth much; but\ntheir work is sometimes rather happy.\nPrevent that traffic in it, Dr. Jacks,\nwhich renders it unhappy and ugly :\nif you have it in your power; it would\nindeed be doing something every one is\ntalking about.\nAnd as for speech, give us some\nmore Hibbert Lectures, one being on\nPrime Minister Mussolini, a man who\n\" goes and does likewise \"."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c048", "article_bluemountain": "bmtnaau_1924-07_01#c048", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 68, "image_fin": 68, "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=bmtnaau192407-01.2.15.4", "titre_corps": "W. S. GILBERT, HIS LIFE AND LETTERS by Sidney Dark and Rowland Grey", "titre_sommaire": "W. S. GILBERT, HIS LIFE AND LETTERS by Sidney Dark and Rowland Grey", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 4221, "fin_caractere_exclue": 4669, "texte": "W. S. GILBERT, HIS LIFE AND\nLETTERS. Sidney Dark and Row-\nland Grey. Illustrated. Methuen. 15/—\nTHERE are enchanting verses and\nsketches by Gilbert in this volume.\nNumbers of amusing anecdotes and\nmany a valuable one too; shrewd\njudgements on English Theatres' and\nactors, make up a book which could\nonly have been better had Gilbert\nwritten it all himself. As it is, about\nhalf of it is from his pen, and the\nother half is well and carefully done."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c049", "article_bluemountain": "bmtnaau_1924-07_01#c049", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 68, "image_fin": 68, "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=bmtnaau192407-01.2.15.5", "titre_corps": "OUR AMERICAN THEATRE by Oliver Sayler", "titre_sommaire": "OUR AMERICAN THEATRE by Oliver Sayler", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 4671, "fin_caractere_exclue": 5541, "texte": "OUR AMERICAN THEATRE by\nOliver Sayler. Brentano's.\nTHE title is wrong to begin with.\nIt might be more reasonably called\n\" The Theatre in America An-\nother title might have been \" Push, ....\nor how to spoil everything\nThe fault is not Mr. Sayler's for\nhis other books have been very inte-\nresting. The fault is Broadway's. The\nAmerican Theatre will come along\nassuredly, but it is yet too early to\nwrite a book about it. When the book\nis written, all the facts will cluster\nround some one name.\nHad Mr, Sayler thought for some\nmoments and asked himself, \" who is\nfar and away the greatest American\nfigure that has appeared in our land ?\n—who next?—how related \", and then\nlooked around and found the other\nsix or seven related to these and\navoided all mention of Europeans, he\nwould have written a small book but\none which would live. We hope he\nmay yet come to write it."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c050", "article_bluemountain": "bmtnaau_1924-07_01#c050", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 68, "image_fin": 68, "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=bmtnaau192407-01.2.15.6", "titre_corps": "FLOWER IN DRAMA by Stark Young", "titre_sommaire": "FLOWER IN DRAMA by Stark Young", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 5543, "fin_caractere_exclue": 6073, "texte": "FLOWER IN DRAMA by Stark\nYoung. Scribner's, $1.50.\nIT will interest many of those who\nlike to learn that the Theatre is not\nwholly the blatant place they still suspect\nit is. The writer has woven fifteen\nessays into a small book, and each\nessay is graceful, and a number of\nsensible things are said in each.\nEveryone should buy the book and\nput it by the side of his collection of\nNathan. Nathan and Young are not at\nall alike. Nathan cannot help slapstick-\ning; Young cannot help being restrained.\nAn excellent pair for New York,"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c051", "article_bluemountain": "bmtnaau_1924-07_01#c051", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 68, "image_fin": 68, "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=bmtnaau192407-01.2.15.7", "titre_corps": "PLAYS FOR A FOLDING THEATRE by C.C. Clements", "titre_sommaire": "PLAYS FOR A FOLDING THEATRE by C.C. Clements", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 6075, "fin_caractere_exclue": 6582, "texte": "PL A YS FOR A FOLDING THEA-\nTRE by C. C. Clements. Stewart\nKidd Co. $2.00,\nIN these trifles we see the writer has\nbeen tempted by a large canvas and\nhas filled it with a little picture. Tak-\ning a small field as a theme,.... some\neveryday happening in America .... and\ngetting rid of his own personal emo-\ntions, the writer should make us a\ngood play in time. I like beginnings\nwhich do not quite succeed. I prefer\nthose which entirely fail to those which\nare perfect. Mr. Clements will go on\nand do better."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c052", "article_bluemountain": "bmtnaau_1924-07_01#c052", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "135", "image_debut": 68, "image_fin": 69, "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=bmtnaau192407-01.2.15.8", "titre_corps": "ANTON CHEHOV by W. Gerhardi", "titre_sommaire": "ANTON CHEHOV by W. Gerhardi", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "debut_caractere": 6584, "fin_caractere_exclue": 6713, "texte": "ANTON CHEHOV by W. Ger-\nhardi. R. Cobden-Sanderson. 7/6 net.\nI was unfortunate and my critical\nspirit was weaker than ever when I"}, {"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 1137, "texte": "struggled with this book, for I had\njust been reading Regnard and Lesage\nand I found that Chehov would not\ndo, No, he will not do. And Mr.\nGerhardi's book sounds all the time\nas though it were propaganda.\nI do not like art which depresses.\nGogol has given us 44 Rivisor \", so that\nwe know that Russia is able to write\na real play, .... can realize what is a\nTheatre and why people go to Theatres.\nIn a Russian Theatre I, of course,\ntumble to Chehov immediately; it is\nall so prettily sad; so whispered and\nwistful, and it can be exceedingly\nbeautiful. But it wont do out of Rus-\nsia. Even in Russia I found that the\nmore aristocratic people had no use\nwhatever for these plays. Grief, suf-\nfering and medicine are not enough,\n.... and a very very little goes a long\nway on the stage.\nThese plays preceeded the Revolu-\ntion, and I should say helped very\ngreatly towards making it inevitable.\nThat Chehov is immensely clever,\nhas the soul of a poet, and must\nhave been a delightful being, does not\nalter my impression that such work as\nhe produced is not what is wanted in\na Theatre. It helps to kill the specta-\ntor; it gives him nothing."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c053", "article_bluemountain": "bmtnaau_1924-07_01#c053", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 69, "image_fin": 69, "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=bmtnaau192407-01.2.15.9", "titre_corps": "A HISTORY OF THE REFORMATION DRAMA 1660-1700 by Allardyce Nicoll", "titre_sommaire": "A HISTORY OF THE REFORMATION DRAMA 1660-1700 by Allardyce Nicoll", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 1139, "fin_caractere_exclue": 1848, "texte": "A HISTORY OF THE REFOR-\nMATION DRAMA 1660-1700\nby Allardyce Nicoll. Cambridge Uni-\nversity Press. 16/-net.\nA BOOK of four hundred pages\ndevoted to forty years of our\nEnglish Drama and its Playhouse with\nvaluable lists and a good index. Ob-\nviously the book on this subject, al-\nthough I shall always have a special\nliking for Mr. John Palmer's 44 The\nComedy of Manners\" in which the\nwriters and their way of thinking and\nwriting comes out to me more clearly.\nI envy Mr. Nicoll his powers. This\nit is which reminds me how good is\nhis work even if I should ever doubt\nit; but I wish he would spell the name\nof one of my favourite actors properly.\nTiberio Fiorilli should never have his\nsurname written Fiorelli."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c054", "article_bluemountain": "bmtnaau_1924-07_01#c054", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 69, "image_fin": 69, "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=bmtnaau192407-01.2.15.10", "titre_corps": "THE WINDMILL. Edited by L. Callender", "titre_sommaire": "THE WINDMILL. Edited by L. Callender", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 1850, "fin_caractere_exclue": 2160, "texte": "THE WINDMILL. Edited by L. Cal-\nlender. Heinemann. 8/6-net.\nTHE Windmill, published by Hei-\nnemann, offers us many a dozen\ngood bits of reading by Beerbohm,\nConrad, Galsworthy, Masefield, and\nall the best writers whose work Hei-\nnemann and Co issue from their press.\nWe missed some of Mr. Nicholson's\nwoodcuts."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c055", "article_bluemountain": "bmtnaau_1924-07_01#c055", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 69, "image_fin": 69, "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=bmtnaau192407-01.2.15.11", "titre_corps": "MASKS AND DEMONS by K. McGowan", "titre_sommaire": "MASKS AND DEMONS by K. McGowan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 2162, "fin_caractere_exclue": 2544, "texte": "MASKS AND DEMONS by K.\nMcGotoan and H. Rosse. Harcourt\nBrace & Co.\nTHIS is a first-class collection of\nphotographs of some of the best\nMasks in existence. Arlechino's and\nPantalone's are missing .... which is a\ngreat pity.\nThere is room for another book by\nthese authors on the same subject, in\nrather lighter vein, less about Gods\nand more about Masks and how they\ncome to be made."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c056", "article_bluemountain": "bmtnaau_1924-07_01#c056", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 69, "image_fin": 69, "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=bmtnaau192407-01.2.15.12", "titre_corps": "FOUR FRENCH COMEDIES OF THE XVII CENTURY by Regnard, Lesage, Marivaux, Destouches", "titre_sommaire": "FOUR FRENCH COMEDIES OF THE XVII CENTURY by Regnard, Lesage, Marivaux, Destouches", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 2546, "fin_caractere_exclue": 3244, "texte": "FOUR FRENCH COMEDIES OF\nTHE XVII CENTURY. Regnard,\nLesage, Marivaux, Destouches: Tran-\nslated by Richard Aldington. Rout-\nledge. 7/ 6-net.\nMESSRS Routledge and Sons are\nto be heartily thanked for giving\nus a translation of four of the French\nComedies of the seventeenth century.\nRegnard, Lesage, Marivaux and Des-\ntouches are all represented, and Ri-\nchard Aldington the translator has\ngenerously given us their four Memoirs.\nPrettily and well bound, the book\nis blessedly cheap.\nBut how brilliantly Moliere shines\nout in his least farce after having read\nthe very best work of these four mas-\nters. Still, read them if you want\nsomething good to read, for even in a\ntranslation they are a delight."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c057", "article_bluemountain": "bmtnaau_1924-07_01#c057", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 69, "image_fin": 69, "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=bmtnaau192407-01.2.15.13", "titre_corps": "LIFE OF WILLIAM SHAKESPEARE by J. Quincy Adams", "titre_sommaire": "LIFE OF WILLIAM SHAKESPEARE by J. Quincy Adams", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 3246, "fin_caractere_exclue": 4302, "texte": "LIFE OF WILLIAM SHAKES-\nPEARE by J. Quincy Adams. Con-\nstable. 21/-.\nIT is all very well, but there are too\nmany lives of this man and I want\nto see them all rendered null and void\nby the appearance of a book of forty\nto fifty pages recording all that is ab-\nsolute fact and nothing such as 44 when\nShakespeare retired from acting we\ncannot say for evidence is lacking.\nYet we may suspect that it preceded\nhis withdrawal from the less taxing\nand more congenial labour of compo-\nsition \".\nI quote from this, the latest, Life\nof William Shakespeare; and, while I\nmust admit that I have enjoyed reading\na good part of the book, I have only\nbeen able to do this by telling myself\nthat it was all gospel. And of course\nit is no such thing.\nBut I do not believe the legend has\never before been told quite as well,\nand so this is the Life to purchase.\nThe book has an excellent Index,\nsome sixty excellent plates. It is well\nprinted and costs only twenty-one\nshillings, which for Constable and Co\nis an improvement, some of their books\nbeing unnecessarily costly."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c058", "article_bluemountain": "bmtnaau_1924-07_01#c058", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "136", "image_debut": 69, "image_fin": 70, "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=bmtnaau192407-01.2.15.14", "titre_corps": "SARAH BERNHARDT by Sir George ArthurTHE REAL SARAH BERNHARDT by Mme Pierre Berton and Basil Woon", "titre_sommaire": "SARAH BERNHARDT by Sir George ArthurTHE REAL SARAH BERNHARDT by Mme Pierre Berton and Basil Woon", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "debut_caractere": 4304, "fin_caractere_exclue": 6463, "texte": "SARAH BERNHARDT by Sir\nGeorge Arthur. Heinemanri. 6/-net.\nTHE REAL SARAH BERN-\nHARDT by Mme Pierre Berton\nand Basil Woon. Boni & Liveright.\nU. S. A. $3.50.\nTWO books on Sarah Bernhardt,\nand both are readable.\nSir George Arthur's is the best, and\nis a very agreable little volume of 178\nsmall pages on a complicated persona-\nlity, (it's the acting which complicates),\nwhich could hardly be done justice to\nin less than 300 large pages. But I\nknow of no biography which gives a\nbetter picture or a truer one of the\ngreat actress and the celebrated woman.\nIt contains many a new fact, and\nthe author makes his points well. It\nis not without significance that he was\nbut nineteen years old when Bernhardt\nfirst came to London in 1879. He\nwrites with all the charm of a young\nman of nineteen and with the added\ngrace of years.\nMme. Pierre Berton writes differently:\nshe prefers not to write at all: she talks\nto Mr Basil Woon and tells him a\nnumber of things which interest me,\nand others which remind me that it\nis an actress who is speaking. For\nexample, she begins in this fashion:\n\"For all my intimacy with Sarah\n44 Bernhardt I find it difficult to believe\n\" that she loved me. I think that,\n\" on the contrary, she distrusted me,\n44 and I even believe that at times she\n4 4 hated me, because it was I, and not\n44 she, who married Pierre Berton.\n44 Yet she confided in me \", etc., etc.\nThese are the first five lines of the\nbook, and the rest of it is like these five\nlines; sparkling incidents, secrets, bril-\nliant pictures, threaded on to a tape.\nThere is a very great deal about\nBernhardt's violence: in this book she\nis made to abuse people right and\nleft in the language used by 44 Nana \",\nthat amazing book on the Theatre\nwritten by Zola about the time of\nBernhardt's prime.\nMadame Berton is curiously rude to\nM. Maurice Bernhardt; but then, in\nmy opinion, she is as rude to the Mo-\nther. Altogether a whiff of les cou-\nlisses ; small-minded, false minded and\nmalicious.\nIf this story of Bernhardt reflect the\nlife of the French Theatre of our age,\nit is indeed time for actors and\nactresses to begin to exercise their\nminds ; for there seem to be a half"}, {"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "debut_caractere": 0, "fin_caractere_exclue": 498, "texte": "dozen important things about life and\nabout art which they have failed to\napprehend, and which, when realized\nby them, will help greatly towards\nbringing the work of the Theatre in\nline with the other arts.\nIn short, the book is a revelation\nof how limited is the intelligence of\nthe actor and actress, especially the\nactress; and for this reason I naturally\ndislike the book intensely, and wish to\nexpress clearly that I consider it a\nfalse portrait of this remarkable lady\nwho is but lately dead."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c059", "article_bluemountain": "bmtnaau_1924-07_01#c059", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 70, "image_fin": 70, "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=bmtnaau192407-01.2.15.15", "titre_corps": "BRITISH DRAMA LEAGUE PLAYS", "titre_sommaire": "BRITISH DRAMA LEAGUE PLAYS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "debut_caractere": 500, "fin_caractere_exclue": 2455, "texte": "BRITISH DRAMA LEAGUE\nPLAYS Published by Basil Black-\nwell. Oxford. 3/6 each.\nOF the first eight volumes of Plays\npublished by Mr Blackwell of\nOxford for the British Drama League,\nI think the best two are, Mr. W. J.\nTurner's 44 Popomack \" and Miss Gwen\nJohn's 44 The Prince \".\nMiss John does all so nicely, so\ndelicately : she is original but not out-\nrageously original, and if much in her\nplay is dramatic and theatrical, all is\ndistinguished. Where things halt at\nall, it is for the theatre folk to busy\nabout and use their wits. I hope the\ngifted authoress is planning more plays.\nOn page 51, says Miss John in her\n44 Emendations \", we are to delete the\ncomma after the word 44 Juno \". No\ncomma has turned up so far, but, if\nit dares to, we will delete. There is\none after the word 44 Diana \". I\nwonder if we may delete that.\nMr. W. J. Turner in his 44 Popo-\nmack \" play does enough to prove\nthat he knows how to write a play.\nThat is not always one of the concerns\nof the modern playwriter, and I can\nbut be grateful when I am made\naware of this.\nTo begin with he does not hesitate;\nhe does not chatter; he raises his cur-\ntain and at once you are delighted.\nHis people talk and you listen eagerly.\nI cannot say as much for most\nplay writers, who, even if they can be\nall things on earth, and yet fail to bring\nyou to listen eagerly, have failed in\nall which counts.\nHaving got you to look and to lis-\nten, Mr Turner goes on to to interest\nyou by all sorts of devices, and then\nyou begin to smile and grow excited.\nWere he to bring an elephant on to\nthe stage or show you a meeting of\nangels in Paradise you would be held ;\nand what duller theme, what sillier\nlcoking animal ?\nAdd to all this that, when he is\ncomic he is ever grave, and when se-\nrious always merry, and you have some\nidea of what I mean when I say that\nhere is someone who knows how to\nwrite a play, ....a modern play ...,even\nif this be not yet the play which is\nto prove it to you."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c060", "article_bluemountain": "bmtnaau_1924-07_01#c060", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 70, "image_fin": 70, "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=bmtnaau192407-01.2.16", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "debut_caractere": 2457, "fin_caractere_exclue": 5841, "texte": "MAGAZINES.\n\nIf your subscription has expired don't\ndelay but renew it at once. Yearly\n$5.00. 28476 West Bth St. N.Y.C.\nWHETHER it be one of the charms\nabout the arts of writing verse\nand prose and painting pictures to be\nincomprehensible, we do not know; ...or\nto be a little incomprehensible perhaps;\nwe cannot say: but we should be incli-\nned to be very dogmatic about printing.\nWe imagine that Mr. Joyce would not\nbe very tolerant with a printer who\ncame along with a 1924 notion to\nprint Mr. James Joyce's name thus,\nASEJMCJYOSE. It's noble, we grant;\nthere is nothing at all bourgeois about\nit; it would trip up the man in the\nstreet right away: but would Mr. Joyce\nlike it, or would he like it if one pro-\nposed to print him this way:—\nYet that is the mood some folk get\ninto when nothing spurs them to be\nsensible and ordinary.\nProved too, ....for when the same\nfolk have to talk plainly they can do\nit well enough. The spur which causes\nthem to come to earth is a simple one\nand sharp too, Cash... Dollars... £.s.d.\nNever do they announce that 44 sub-\nscriptions can be renewed by writing\nto Number 444 West 555 Street,# in\nany but the most direct and excellent\nway. Never do they put it like this,\nfor instance:\nSub can be scrip\n444 West\nrenew tion ed\n555 Street\nby writ\ning\nTO NUMBER\nThe spur never fails to wake them\nup at the right moment.\nIN its April number The Sackbut\nhad, amongst other good things, a\nvery lively article on • Rossini in Lon-\ndon ' by Giuseppe Radiciotti, whose\nhistorical studies on the Theatre and mu-\nsic are always entertaining and valuable.\nCurrent Opinion (New York) is\nan ordinary Monthly Magazine packed\nfull of information culled from every\nother journal and magazine of the mo-\nment ; it seems to contain rather less\non the Theatre than it once did, but\nis none the less the most readable\nmonthly publication we know of. It\nresembles the Review of Reviews\n(London) which, under the editorship\nof Mr Wickham Steed seems to have\ntaken on a new lease of life.\nOrd och Bild (Stockholm) always\npleases us greatly, for its excellent arti-\ncles on the Swedish Stage and for the\nway it is printed. An ordinary pub-\nlication, it yet takes care to set up\nits pages with some style. It is still pub-\nlished by Wahlstrom and Widsstrand\nin Stockholm, and its illustrations are\nalways refreshingly Swedish. Soderhelm,\nPaasche and Behrens are still its editors.\nMost magnificent of all illustrated\nmonthly magazines known to us is The\nArchitectural Review. Its size is the\nsize of the architect. What fellows\nthey are, to be sure, these architects.\nAll of them have a sense of power ;\nnone of them seems bothered by a\nfoot-rule. Ask them to build a pyra-\nmid or design a programme or issue a\njournal, and something better than\nanyone else can ever conceive is bound\nto come. Their vision is always a\nlarge one. And so this Review of\ntheirs is a huge one ; its plates spread\nthemselves around without stint ; its ar-\nticles are boldly conceived and written ;\nthe type the best, the margins superb.\nWren looms largely through its numbers,...\nand the Queen's Dolls' House in the\nMarch number looked a full sized pa-\nlace ; no hint of it being only a model.\nFor us the Architects then, for they\nhave those rare things, a sense of po-\nwer, vision; and still walk with the\nstride known in the days when Inigo\nJones, Wren and and Vanburgh pa-\ntrolled old England."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c061", "article_bluemountain": "bmtnaau_1924-07_01#c061", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 70, "image_fin": 70, "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=bmtnaau192407-01.2.16.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "debut_caractere": 2469, "fin_caractere_exclue": 5841, "texte": "If your subscription has expired don't\ndelay but renew it at once. Yearly\n$5.00. 28476 West Bth St. N.Y.C.\nWHETHER it be one of the charms\nabout the arts of writing verse\nand prose and painting pictures to be\nincomprehensible, we do not know; ...or\nto be a little incomprehensible perhaps;\nwe cannot say: but we should be incli-\nned to be very dogmatic about printing.\nWe imagine that Mr. Joyce would not\nbe very tolerant with a printer who\ncame along with a 1924 notion to\nprint Mr. James Joyce's name thus,\nASEJMCJYOSE. It's noble, we grant;\nthere is nothing at all bourgeois about\nit; it would trip up the man in the\nstreet right away: but would Mr. Joyce\nlike it, or would he like it if one pro-\nposed to print him this way:—\nYet that is the mood some folk get\ninto when nothing spurs them to be\nsensible and ordinary.\nProved too, ....for when the same\nfolk have to talk plainly they can do\nit well enough. The spur which causes\nthem to come to earth is a simple one\nand sharp too, Cash... Dollars... £.s.d.\nNever do they announce that 44 sub-\nscriptions can be renewed by writing\nto Number 444 West 555 Street,# in\nany but the most direct and excellent\nway. Never do they put it like this,\nfor instance:\nSub can be scrip\n444 West\nrenew tion ed\n555 Street\nby writ\ning\nTO NUMBER\nThe spur never fails to wake them\nup at the right moment.\nIN its April number The Sackbut\nhad, amongst other good things, a\nvery lively article on • Rossini in Lon-\ndon ' by Giuseppe Radiciotti, whose\nhistorical studies on the Theatre and mu-\nsic are always entertaining and valuable.\nCurrent Opinion (New York) is\nan ordinary Monthly Magazine packed\nfull of information culled from every\nother journal and magazine of the mo-\nment ; it seems to contain rather less\non the Theatre than it once did, but\nis none the less the most readable\nmonthly publication we know of. It\nresembles the Review of Reviews\n(London) which, under the editorship\nof Mr Wickham Steed seems to have\ntaken on a new lease of life.\nOrd och Bild (Stockholm) always\npleases us greatly, for its excellent arti-\ncles on the Swedish Stage and for the\nway it is printed. An ordinary pub-\nlication, it yet takes care to set up\nits pages with some style. It is still pub-\nlished by Wahlstrom and Widsstrand\nin Stockholm, and its illustrations are\nalways refreshingly Swedish. Soderhelm,\nPaasche and Behrens are still its editors.\nMost magnificent of all illustrated\nmonthly magazines known to us is The\nArchitectural Review. Its size is the\nsize of the architect. What fellows\nthey are, to be sure, these architects.\nAll of them have a sense of power ;\nnone of them seems bothered by a\nfoot-rule. Ask them to build a pyra-\nmid or design a programme or issue a\njournal, and something better than\nanyone else can ever conceive is bound\nto come. Their vision is always a\nlarge one. And so this Review of\ntheirs is a huge one ; its plates spread\nthemselves around without stint ; its ar-\nticles are boldly conceived and written ;\nthe type the best, the margins superb.\nWren looms largely through its numbers,...\nand the Queen's Dolls' House in the\nMarch number looked a full sized pa-\nlace ; no hint of it being only a model.\nFor us the Architects then, for they\nhave those rare things, a sense of po-\nwer, vision; and still walk with the\nstride known in the days when Inigo\nJones, Wren and and Vanburgh pa-\ntrolled old England."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c064", "article_bluemountain": "bmtnaau_1924-07_01#c064", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 71, "image_fin": 71, "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=bmtnaau192407-01.2.17", "titre_corps": "WORK AND PLEASURE : A LEADING ARTICLE REPRINTED FROM THE TIMES MAY 2,1924", "titre_sommaire": "WORK AND PLEASURE : A LEADING ARTICLE REPRINTED FROM THE TIMES MAY 2,1924", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 3864, "texte": "WORK AND PLEASURE.\nA LEADING ARTICLE REPRINTED FROM THE TIMES\nMAY 2,1924.\nJ. S.\nWHILE a certain section of the Press, a Section\ngrowing smaller year by year, is misrepresenting\nall that Gordon Craig stands for in his work> his\nsupporters will have experienced a distinct sense of\npride and pleasure in seeing the old \" Times re-\npresenting and interpreting it as it does in this deader\npublished on May 2nd, and which, hy the courteous\npermission of the Editor, we reprint here.\nIN a recently published book, 44 Woodcuts and some\nWords Mr. Edward Gordon Craig, a confir-\nmed and incurable artist, speaks of his wood-cutting\nas his means of keeping from heart-break, as his\n(inadequate) livelihood, and as his source of enjoyment.\nMost of us are familiar with the idea of work under\nthe first two of those aspects. Work, we know, is an\nefficacious drug: a soporific, under the influence of\nwhich we forget our domestic worries, our failures in\nlove or on the golf links, all the unhappiness that\npounces upon us in spare moments. Work, we know\nalso, is for most people the source of income ; and so\nstrongly has this idea laid hold of us that he alone is\nthe 44 practical \" man who does work only for the\nsake of the money that it brings him; and, conversely,\nthe only work that deserves the name of work is\nthat which the practical man does. Because the exi-\nguous stipends of the clergy bear no relation to the\nwork they do, and because that work is not done at\nfixed hours and in a fixed place, the notion is pre-\nvalent—and not only among the uneducated that the\nclergy do no work at all. 44 All that for a song ! \"\nsaid Cecil of Queen Elizabeth's gift to Edmund\nSpenser. Poems are not practical things : the writing\nof them is not work. The only man who works is\nhe who reaches the office every morning at ten and\nleaves it not before five; though experience seems to\nhint that not every moment of every office hour is\nfilled with arduous labour, except, of course, in the\ncase of the lordly principals, whose profound contem-\nplation of matters too hard for the general is not\ninterrupted by their meals, scarcely even by their sleep.\nWork is not work unless it is, in that sense, practical,\nand unless it is also remunerative. Should it be dis-\ntasteful as well—a drug that is as nasty as the old-\nfashioned medicines—then it is work indeed. -\nMr. Gordon Craig found his wobd-cutting mode-\nrately remunerative and a drug so pleasant that he\nenjoyed taking it. And he goes on to declare that\nhe, the artist, to whom the work was more important\nthan the pay, is the practical man. He enjoyed, as\nwood-engraver, the finest pleasure that life has to\noffer: the pleasure of doing what he liked. His\nwork was neither a means of buying pleasure nor an\nobstacle to the obtaining of pleasure. It was pleasure.\nThat is an idea which has escaped both our reformers\nand our reactionaries. Even William Morris did not\nclaim that the Golden Dustman's work was a pleasure\nto him. It was a disagreeable necessity, to be com-\npensated for by fine clothes in off-hours. And it is\nan idea that is obviously incompatible with our present\nstate of society. In a mechanical age, most work,\neven among the brain-workers, must be mechanical;\nand mechanical work, however effectual a drug, can-\nnot be a pleasure in itself. Yet it is cheering to the\nrebel who lurks in each one of us to see the practical\nman flouted as a dreamer and the artist upheld as\npractical: work declared to be not a disagreeable\nnecessity, nor a mere means of livelihood, but a plea-\nsure. We cannot all be artists; but, after chuckling\nover the paradox, the humblest of us might be cheered\nby it into seeing how much of pleasure can be squee-\nzed out of his own dull and trivial round, and how\nmuch he may do to deserve that pleasure by exerci-\nsing some of the artist's perseverance and self-disci-\npline."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c067", "article_bluemountain": "bmtnaau_1924-07_01#c067", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 72, "image_fin": 72, "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=bmtnaau192407-01.2.18", "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": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 3275, "texte": "EDITORIAL NOTES.\n\n44 SOMETHING CONCRETE \".\nOctober 24. / 923 - May I. / 924.\nON the first of these dates Mr Ar-\nnold Bennett came out with a\nstaunch blast of trumpet headed 44 A\nShakespeare Theatre AT LAST\".\nThe man his staunch blast heralded,\nwas Mr Dion Calthrop:—44 Mr Dion\nCalthrop, out of his own head, has done\nsomething concrete \" cried Mr Bennett,\ndetermined to be heard in the last row\nof the Gallery. What Mr Calthrop\nhad done he then told us was to esta-\nblish a mainly Shakespeare Theatre at\nthe Kingsway.\nOn May Ist of this year, seven\nmonths later, it is announced that\n44 Mr Dion Calthrop intends to reopen\nthe Kingsway Theatre with a revue\nnamed 4 At Honje \\ \"\n€| We have always had a fancy for\n44 something concrete \"; we like staunch\nblasts from the heralds; but we like our\nheralds to know what is 44 concrete\"\nin the Theatre, and to be not quite so\nstaunch to the wrong thing.\nWe should hardly imagine that 44 the\nboy Donald Calthrop \" as Mr Bennett\ncalls him, was young or stupid enough\nto have any fixed and unshakeable\nbelief in drama which is as concrete\nas the Shakespeare drama, or any other\ntroublesome but satisfactory work of\nhis kind.\nMr. Calthrop is a delightful come-\ndian, an excellent stage manager, an\nenergetic director; and some there are\nwho class him with Mr. Play fair and\nMr. Dean and consider them together\nthe hope of the English stage.\nCalthrop is just the very man to\nproduce 44 The Young Person in Pink\n—which he did produce and perfectly\nbut we think that he has not quite, yet,\nbeen visited by those other moods in\nwhich it becomes possible, to produce\nthe Young Person in Black, .... or\nKing Lear, or A Midsummer Night's\nDream.\nWhat then possessed Mr. Bennett\nto come out with his staunch blast of\ntrumpet.... announcing next to nothing?\nSuch valuable heralds as Mr. Ben-\nnett should not waste themselves. A\ncontinuous, a steady blast of trumpets\nfrom ten men of his capacity, and the\nWalls of Jerico would indeed erect\nthemselves, after having first dipped to\na salute.\nBut there would have to be steadi-\nness in their blasts; to tootle first in\npraise of Nihil and then on the part\nof Dionysus is not either playing the\ntrumpet, or the game, to any concrete\nresult.\nThere are a number of little groups\nin or around London, anyone of which\nif trumpeted steadily by ten men of\nMr. Bennett's standing would be esta-\nblished and become concrete with time\nhelping things along: add a good deal\nof time.\nThese are: Mr Nigil Playfair's group.\nMr Calthrop's group.\nThe Old Vic. group.\nThe Birmingham group.\nThe Reandean group.\nThe Fagan group.\nThe McDougal group.\nThe Bridges Adams group.\nAre any of these people or groups\nfirst class, and, if so, which? They\ncan't all be equal in value; is any of\nthem the best? if so, which?\nThat decided, why do not Mr Ben-\nnett and nine other men who know,\n(we grant it takes a bit of knowing)\ntrumpet and trumpet again for the shop\nthey decide on as the very best, and\nget that concretely established before\nbeginning on the second.\nWhy trumpet every year for a dif-\nferent shop?\nThe concrete is assuredly just what\nis wanted: 44 something concrete\";....\nThe best of Mr. A. B. Walkley is,\nthat he always has trumpeted the same\nold firm: that's the style : and Fidelity\nthe trademark.\n\nCLARITY."}, {"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 3911, "fin_caractere_exclue": 5556, "texte": "INCORRECT.\nJ. S.\nTHE 44 Glasgow Herald *\\ one of\nour most intelligent British jour-\nnals, contained the following old tar-\nradiddle on April 10th 1924 : 44 Ob-\n-44 viously Gordon Craig lacks common-\n-44 sense he would blow up every\n44 theatre in London or 4 Gordon-\n-44 Craigise ' everything in it \".\nAs well flare out with 44 Obviously\n4 4 4 The Glasgow Herald ' is a horribly\n44 stupid paper \". There would be as\nmuch sense in the statement as in the\none which it makes and we have\nquoted.\nHow does the 4 Glasgow Herald '\nknow that Craig 44 lacks commonsense \",\nand 44 would blow up every theatre in\nLondon or 44 4 Gordon-Craigise * every-\nthing in it \" ?\nThis is a typical bit of careless\njournalism for which everyone who\nwishes well to the British Theatre has\nto pay; and it is for this reason we\nobject.\nUntil Gordon Craig has at least one\ntheatre in which to prove how little he\nwould blow it up, the 4 Glasgow He-\nrald's ' statement remains a blunder.\nEnglish theatrical information is at\na very low ebb : the perpetrator of\nthe above blunder later on proceeded\nto speak of 44 Artists such as Mr. Coch-\nran and Mr. Basil Dean *\\\nMr. Cochran and Mr. Dean cannot\nbe spoken of as artists. The first is a\nrare good impresario and the second\nis a proper kind of 44 producer\nMr Gest 44 produces \" 44 The Miracle \"\nin New York : Mr Dean 44 produces \"\nmany plays in London: and, if that\nmeans anything today, Professor Rein-\nhardt 44 produces \", ....so what value\nhas the word 44 produce \" today ?\nAnyhow, a valuless paragraph on\nMr. Craig has been produced by the\n44 Glasgow Herald \" and has been an\nutter frost. We wonder who was the\nproducer."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c069", "article_bluemountain": "bmtnaau_1924-07_01#c069", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 72, "image_fin": 72, "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=bmtnaau192407-01.2.18.2", "titre_corps": "\"SOMETHING CONCRETE\"", "titre_sommaire": "\"SOMETHING CONCRETE\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 18, "fin_caractere_exclue": 3265, "texte": "44 SOMETHING CONCRETE \".\nOctober 24. / 923 - May I. / 924.\nON the first of these dates Mr Ar-\nnold Bennett came out with a\nstaunch blast of trumpet headed 44 A\nShakespeare Theatre AT LAST\".\nThe man his staunch blast heralded,\nwas Mr Dion Calthrop:—44 Mr Dion\nCalthrop, out of his own head, has done\nsomething concrete \" cried Mr Bennett,\ndetermined to be heard in the last row\nof the Gallery. What Mr Calthrop\nhad done he then told us was to esta-\nblish a mainly Shakespeare Theatre at\nthe Kingsway.\nOn May Ist of this year, seven\nmonths later, it is announced that\n44 Mr Dion Calthrop intends to reopen\nthe Kingsway Theatre with a revue\nnamed 4 At Honje \\ \"\n€| We have always had a fancy for\n44 something concrete \"; we like staunch\nblasts from the heralds; but we like our\nheralds to know what is 44 concrete\"\nin the Theatre, and to be not quite so\nstaunch to the wrong thing.\nWe should hardly imagine that 44 the\nboy Donald Calthrop \" as Mr Bennett\ncalls him, was young or stupid enough\nto have any fixed and unshakeable\nbelief in drama which is as concrete\nas the Shakespeare drama, or any other\ntroublesome but satisfactory work of\nhis kind.\nMr. Calthrop is a delightful come-\ndian, an excellent stage manager, an\nenergetic director; and some there are\nwho class him with Mr. Play fair and\nMr. Dean and consider them together\nthe hope of the English stage.\nCalthrop is just the very man to\nproduce 44 The Young Person in Pink\n—which he did produce and perfectly\nbut we think that he has not quite, yet,\nbeen visited by those other moods in\nwhich it becomes possible, to produce\nthe Young Person in Black, .... or\nKing Lear, or A Midsummer Night's\nDream.\nWhat then possessed Mr. Bennett\nto come out with his staunch blast of\ntrumpet.... announcing next to nothing?\nSuch valuable heralds as Mr. Ben-\nnett should not waste themselves. A\ncontinuous, a steady blast of trumpets\nfrom ten men of his capacity, and the\nWalls of Jerico would indeed erect\nthemselves, after having first dipped to\na salute.\nBut there would have to be steadi-\nness in their blasts; to tootle first in\npraise of Nihil and then on the part\nof Dionysus is not either playing the\ntrumpet, or the game, to any concrete\nresult.\nThere are a number of little groups\nin or around London, anyone of which\nif trumpeted steadily by ten men of\nMr. Bennett's standing would be esta-\nblished and become concrete with time\nhelping things along: add a good deal\nof time.\nThese are: Mr Nigil Playfair's group.\nMr Calthrop's group.\nThe Old Vic. group.\nThe Birmingham group.\nThe Reandean group.\nThe Fagan group.\nThe McDougal group.\nThe Bridges Adams group.\nAre any of these people or groups\nfirst class, and, if so, which? They\ncan't all be equal in value; is any of\nthem the best? if so, which?\nThat decided, why do not Mr Ben-\nnett and nine other men who know,\n(we grant it takes a bit of knowing)\ntrumpet and trumpet again for the shop\nthey decide on as the very best, and\nget that concretely established before\nbeginning on the second.\nWhy trumpet every year for a dif-\nferent shop?\nThe concrete is assuredly just what\nis wanted: 44 something concrete\";....\nThe best of Mr. A. B. Walkley is,\nthat he always has trumpeted the same\nold firm: that's the style : and Fidelity\nthe trademark."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c070", "article_bluemountain": "bmtnaau_1924-07_01#c070", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 72, "image_fin": 72, "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=bmtnaau192407-01.2.18.3", "titre_corps": "CLARITY", "titre_sommaire": "CLARITY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 3267, "fin_caractere_exclue": 3275, "texte": "CLARITY."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c071", "article_bluemountain": "bmtnaau_1924-07_01#c071", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 72, "image_fin": 72, "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=bmtnaau192407-01.2.18.3.1", "titre_corps": "FROM AN ENGLISH DAILY JOURNAL", "titre_sommaire": "FROM AN ENGLISH DAILY JOURNAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 3277, "fin_caractere_exclue": 3909, "texte": "FROM AN ENGLISH\no DAILY JOURNAL, o\nTO BE READ SLOWLY.\nLiverpool, Saturday.\n44 HTHE first half of this morming's ses-\nA sion showed further weakness on\n44 bull liquidation, in view of the easiness\n44 of New York overnight. With the\n44 exception, however, of stop-loss exe-\n44 cutions, there was little fresh selling\n44 in the market, and when short cove-\n-44 ring commenced later a farthing a\n44 pound was easily recovered. The\n44 statistical position is gaining in strength,\n44 and there is a rather better inquiry\n44 for actual cotton \".\nAnd there are some people in the\nworld who say that 44 The Mask \" is\ndifficult to understand."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c072", "article_bluemountain": "bmtnaau_1924-07_01#c072", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 72, "image_fin": 72, "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=bmtnaau192407-01.2.18.4", "titre_corps": "INCORRECT", "titre_sommaire": "INCORRECT", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "debut_caractere": 3911, "fin_caractere_exclue": 5556, "texte": "INCORRECT.\nJ. S.\nTHE 44 Glasgow Herald *\\ one of\nour most intelligent British jour-\nnals, contained the following old tar-\nradiddle on April 10th 1924 : 44 Ob-\n-44 viously Gordon Craig lacks common-\n-44 sense he would blow up every\n44 theatre in London or 4 Gordon-\n-44 Craigise ' everything in it \".\nAs well flare out with 44 Obviously\n4 4 4 The Glasgow Herald ' is a horribly\n44 stupid paper \". There would be as\nmuch sense in the statement as in the\none which it makes and we have\nquoted.\nHow does the 4 Glasgow Herald '\nknow that Craig 44 lacks commonsense \",\nand 44 would blow up every theatre in\nLondon or 44 4 Gordon-Craigise * every-\nthing in it \" ?\nThis is a typical bit of careless\njournalism for which everyone who\nwishes well to the British Theatre has\nto pay; and it is for this reason we\nobject.\nUntil Gordon Craig has at least one\ntheatre in which to prove how little he\nwould blow it up, the 4 Glasgow He-\nrald's ' statement remains a blunder.\nEnglish theatrical information is at\na very low ebb : the perpetrator of\nthe above blunder later on proceeded\nto speak of 44 Artists such as Mr. Coch-\nran and Mr. Basil Dean *\\\nMr. Cochran and Mr. Dean cannot\nbe spoken of as artists. The first is a\nrare good impresario and the second\nis a proper kind of 44 producer\nMr Gest 44 produces \" 44 The Miracle \"\nin New York : Mr Dean 44 produces \"\nmany plays in London: and, if that\nmeans anything today, Professor Rein-\nhardt 44 produces \", ....so what value\nhas the word 44 produce \" today ?\nAnyhow, a valuless paragraph on\nMr. Craig has been produced by the\n44 Glasgow Herald \" and has been an\nutter frost. We wonder who was the\nproducer."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c073", "article_bluemountain": "bmtnaau_1924-07_01#c073", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau192407-01.2.19", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 494, "texte": "WOODCUTS\nBy EDWARD GORDON CRAIG\n«jj The MASK Publishers have pleasure in announcing that\nthey are Agents for Mr GORDON CRAIG'S Woodcuts.\nPRICE LISTS COMPLETE INFORMATION\nSENT FREE ON REQUEST.\nSee Plate on pg. 27 in January number of The Mask reproduced\nfrom an original print, size 17X15-8 cm.\nCollectors will be glad to hear that 150 copies\nprinted from the original block on Japanese\npaper and signed by the artist, are available\nat & 2.2.0 each.\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c074", "article_bluemountain": "bmtnaau_1924-07_01#c074", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau192407-01.2.20", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.3", "debut_caractere": 496, "fin_caractere_exclue": 810, "texte": "THE MARIONNETTE\nARTICLES ON THE MARIONNETTES,\nBURATTiNI AND SHADOW FIGURES\nOF MANY LANDS AND PERIODS,\nWITH MARIONNETTE FLAYS, & MANY\nILLUSTRATIONS.\nA FEW VOLUMES REMAIN\nON HAND-MADE PAPER.\nBOUND HALF VELLUM.\nPRICE £ 1.12.0 ($ 8.00)\nPOST FREE.\nAPPL Y TO THE MASK PUBLISHERS,\nBOX444, FLORENCE, ITALY.\n1918\nm\nCONTAINS"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c075", "article_bluemountain": "bmtnaau_1924-07_01#c075", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau192407-01.2.21", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.3", "debut_caractere": 812, "fin_caractere_exclue": 1466, "texte": "MASK\nTHERE REMAIN FOR SALE\nSOME COPIES OF THE\nFOLLOWING VOLUMES OF\nTHE MASK\nBOUND IN HALF-VELLUM.\nVol. 1. 1908. £ 2. 0.0 (| 10.00)\nVol. 3. 1910. £ 2.0.0 (| 10.00)\nVol. 5. 1912. £l. 5.0 ($ 6.00)\nVol. 6. 1913. £I. 5.0 ($ 6.00)\nVol. 7. 1914. 16.0 ($ 4.00}\nAlso some copies of the Large Paper Edition of\nVols. 5 & 6at £ 1.15.0 ($ 9.00) each; and\nof Vol. 7 at £ 1.0.0 ($ 5.00) each.\nNOT A PAGE ...WHICH IS NOT INTERESTING AND\nSTIMULATING IN A FINE WAY. (Pali Mall ).\nA DELIGHT TO BIBLIOPHILES. N. Y. Dramatic Mirror.\nTHE MOST ARTISTIC AND FASCINATING THEATRICAL\nPUBLICATION IN THE WORLD. Current Opinion. U. S. A.\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c076", "article_bluemountain": "bmtnaau_1924-07_01#c076", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.22", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 835, "texte": "THE PRINT COLLECTORS QUARTERLY\nWILL APPEAL TO ALL READERS OF THE\nMASK AS IT IS DEVOTED ENTIRELY TO\nTHE WORK OF OLD AND MODERN MAS-\nTERS WHO HAVE MADE A NAME FOR\nTHEMSELVES THROUGH THE SINCERITY\nAND BEAUTY OF THEIR WORK : THE IL-\nLUSTRATIONS ARE MADE WITH GREAT\nCARE AND EACH NUMBER IS FULLY IL-\nLUSTRATED WITH THE WORK OF FOUR\nDIFFERENT ARTISTS AND USEFUL AND\nVALUABLE CATALOGUES ARE ADDED IN\nCASES WHERE THEY HAVE NOT HITHERTO\nBEEN PUBLISHED: THE ANNUAL SUBSCRIP-\nTION IS SEVENTEEN SHILLINGS AND SIX\nPENCE PER ANNUM POST FREE AND THE\nFOUR NUMBERS ARE ISSUED IN THE\nMONTHS OF FEBRUARY APRIL OCTOBER\nAND DECEMBER: SUBSCRIBERS CAN BE-\nGIN WITH ANY NUMBER & CAN FORWARD\nTHEIR SUBSCRIPTIONS THROUGH ANY\nBOOKSELLER PRINT SELLER OR PUBLI-\nSHER OR DIRECT TO THE PRINT COLLEC-\nTORS QUARTERLY AT TEN BEDFORD\nSTREET LONDON WEST CENTRAL TWO\no o o"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c078", "article_bluemountain": "bmtnaau_1924-07_01#c078", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.24", "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": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 185, "texte": "m\nCANTAGALLI\nARTISTIC MAJOLICAS\nARCHITECTURAL\nDECORATIONS\nREPRODUCTIONS OF\nWORKS OF\nDELLA ROBBIA\nO\nMAN UFA CTUR Y\nFLORENCE\n(PORTA ROMANA)\nO\nBRA NCH EST A BLISHMENT\nROME\nVIA BABUINO 182."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c079", "article_bluemountain": "bmtnaau_1924-07_01#c079", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.5", "debut_caractere": 187, "fin_caractere_exclue": 435, "texte": "A LIVING\nTHEATRE\nCONTAINING AN\nACCOUNT OF\n\" THE MASK \"\nAND SOME ARTICLES\nON THE WORK OF\nGORDON CRAIG.\nWITH 20 ILLUSTRATIONS.\nPUBLISHED 1913.\no\nA FEW COPIES REMAIN\nFOR SALE.\nPRICE 4s. ($ 1.)\nPOST FREE.\no\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE,\nITALY."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c080", "article_bluemountain": "bmtnaau_1924-07_01#c080", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192407-01.2.26", "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": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.5", "debut_caractere": 437, "fin_caractere_exclue": 1413, "texte": "OLD BOOKS ON THE THEATRE.\nA NOTE ON THE BOOK LIST OF VOLUME NINE.\nTHE Mask Publishers, in offering some old books collected at one\ntime and another in various parts of Europe, beg to draw attention\nto the fact that all these books, with very few exceptions, are newly\nbound in half vellum and paper boards. The exceptions are cases where\nthe binding is already good, or the old covers too attractive to take off,\nor where the volume is not quite worth rebinding expensively.\n<J In some cases our books are illustrated by some extra plate, or some\nother feature which renders them unique: some are autographed or\ncontain a bookplate.\nOur List published in Volume 9 contained some of the best books on\nthe subjects enumerated, and some of the rarest: also a number of unusual\nminor works, which have often as great a value as more famous volumes.\nC| Enquiries from Collectors of Theatre Books will be welcomed, and\nshould be addressed to:\nTHE MASK PUBLISHERS, BOX 444. FLORENCE."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c081", "article_bluemountain": "bmtnaau_1924-07_01#c081", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 6, "image_fin": 6, "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=bmtnaau192407-01.2.27", "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": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 589, "texte": "|llllllllllllHlllllll!lllllllllllllllillllHl||||||||||||||||||||||||||t||i||||||]||\n= A SHORT LIST =\n= OF =\nSOME ENGRAVINGS ON WOOD =\nI BLACK FIGURES 1\nby\nEDWARD GORDON CRAIG.\nDESIGNED AND CUT ON WOOD BETWEEN THE\nYEARS 1907-1919 AND EVERY COPY PERSO-\nNALLY HAND-PRINTED BY THE DESIGNER.\n000\nCOLLECTIONS OF THESE PRINTS CAN BE SEEN\nAT THE VICTORIA AND ALBERT MUSEUM,\nLOND ON; THE KUNSTGEWERBE MUSEUM,\nZURICH; AND THE RYKS MUSEUM, AMSTERDAM.\no o\nTHIS LIST WILL BE SENT ON REQUEST.\nA SECOND LIST OF BOX-WOOD CUTS\nHAS BEEN PREPARED.\no\n\" THE MASK \" PUBLISHERS. BOX 444.\nr= FL O FENCE. IT A L Y."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c082", "article_bluemountain": "bmtnaau_1924-07_01#c082", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 6, "image_fin": 6, "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=bmtnaau192407-01.2.28", "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": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.6", "debut_caractere": 591, "fin_caractere_exclue": 992, "texte": "Bllllllllllll||||imilllllllllllll!llllll!Sl|||!l||||||!|||||Ull||||||||||||||||||!Q\nm\n&\n0*\na a\nII\nII\na*\nSI\nCHELSEA PUBLISHING COMPANY\nLONDON AGENCY\nFOR\n\" THE MASK \"\nCOPIES ON SALE.\nALL INFORMATION FURNISHED\nBOOK-SELLERS SUPPLIED\nSUBSCRIPTIONS RECEIVED\ni 6 ROYAL HOSPITAL ROAD\nCHELSEA, LONDON\nTEL : KENSINGTON 6650.\nBilllllllllllllillll!li!l||||||||!|]|||||||Bll||||||||||||||||||||||||||||||!||)||||gi"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c083", "article_bluemountain": "bmtnaau_1924-07_01#c083", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 6, "image_fin": 6, "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=bmtnaau192407-01.2.29", "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": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.6", "debut_caractere": 994, "fin_caractere_exclue": 1713, "texte": "THE G INNER-MA WE R SCHOOL\nTRAIN STUDENTS IN THE ARTS OF THE DANCE AND THE THEATRE\nT~) ÜBY Ginner and Irene Mawer are working to promote the right\nunderstanding of Dance, Drama, Poetry and Mime as Educa-\ntional forces and as expressions of individual and national life.\nStudents may tiain for the Stage or for the Teaching Profession.\nA special feature of the School is the Children's Section, in which\nthe children are helped to develope personality, originality and a love\nof the beautiful through the medium of Dance, Poetry and Drama.\no o o\nParticulars of the various branches of the School Work may be obtained from :\nTHE SECRETARY, THE GINNER-MAWER SCHOOL, LINDSEY HALL, THE MALL,\nNOTTING HILL GATE, LONDON, W. 8."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c084", "article_bluemountain": "bmtnaau_1924-07_01#c084", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 7, "image_fin": 7, "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=bmtnaau192407-01.2.30", "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": 7, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 537, "texte": "GIORGIO & PIERO ALINARI\nPUBLISHERS. VIA STROZZI i, FLORENCE.\nGRAND COLLECTION OF PHOTOGRAPHS\n50.000 SUBJECTS OF ALL THE TOWNS OF ITALY. GREECE, PARIS, DRESDEN\nPLATINUM, BROMIDE, CARBON PRINTS, ETC. ARTISTIC REPRODUCTIONS\nOF VIEWS, PICTURES, SCULPTURES, ARCHITECTURAL DETAILS, ETC.\nlii\nA View of the Ponte Vecchio. Florence.\nBOOK EDITIONS RECENTLY PUBLISHED,\nFLORENCE\nORIGINAL ETCHINGS BY ANTONIO CARBONATI WITH PREFACE\nBY VITTORIO PICA.\nORIGINAL ALBUM ON JAPANESE PAPER ; 100 COPIES NUMBERED AND\nSIGNED, ENCLOSED IN A FINE LEATHER COVER."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c085", "article_bluemountain": "bmtnaau_1924-07_01#c085", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 8, "image_fin": 8, "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=bmtnaau192407-01.2.31", "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": 8, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 613, "texte": "ttt,\nfJA\nlit\nJUNK!\nAn expressive, transatlantic term applied\nto useless, ugly or pretentious furniture.\nWe are all apt to have some of it—in the\nspare bedroom, if nowhere else.\nSome perhaps we inherited, some was\nthrust upon us at marriage; some is an\nindiscretion of our own which maturer\ntaste rejects.\nHEALS take the greatest care to make\nit impossible to buy JUNK at their shop\n—not so easy a thing to ensure or so\nlight a claim to make, as may at first\nsight appear.\nHeal & Son fe1\nTOTTENHAM COURT ROAD. Wl.\nBedding, Bedstead, Upholstery, and Furniture\nDealers in Carpets, China, Fabrics & Decorative things."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c086", "article_bluemountain": "bmtnaau_1924-07_01#c086", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "139", "image_debut": 73, "image_fin": 73, "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=bmtnaau192407-01.2.32", "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": 73, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 1369, "texte": "J||llliill!illilllllllllillIillllll!lllllllllllllll(||||||||||||||i;ill!illllllllllllllllllllll!llllllllilllllllllllllll!lllllllllll!lllllllllllll!llllllllllll)lll|||||illlillll||]L^\n[CONSTABLE BOOKS!\nI INCLUDE 1\niT E N\nDENCIES OF MODER\nENGLISH DRAMA\nBy A. E. MORGAN. 10/6 net.\nYorkshire Post: \" A work of which it is possible to speak in terms of glowing praise... A survey not only\nof modern English drama, but also of the theatre... May be commended to those whose interest in the\ndrama is theatric no less than to those whose approach is literary }>.\nN 1\nALSO\nI CHRISTOPHER\nI MARLOWE\nI A play by ERNEST MILTON. 16/- net.\nWith a prologue by WALTER DE LA MARE\nand a cover design by RONALD BALFOUR\nEE Also so copies bound in white and gold and signed by\nzs the author.\nThis important and beautifnl play, written in rhythmic\nprose, will introduce to the public the poetic talents\nof a young actor already known for his brillant perfor-\nmances at the \" Old Vic \" and in Galsworthy's suc-\nss cessful play, Loyalties.\nAND\nSAINT\nJOAN\nA play and a preface\nby BERNARD SHAW. 6/- net.\nHere are a few section-headings from the long preface :\nJoan original and presumptuous : Joan and Socrates ;\nContrast with Napoleon ; Was Joan innocenl or guilty?:\nJoan's good looks ; Joan's social position ; Joan's vi-\nsions; The Evolutionary Appetite; etc. etc.\n| 10/12 ORANGE ST. LONDON. J"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c087", "article_bluemountain": "bmtnaau_1924-07_01#c087", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "139", "image_debut": 73, "image_fin": 73, "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=bmtnaau192407-01.2.33", "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": 73, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.73", "debut_caractere": 1371, "fin_caractere_exclue": 1952, "texte": "MESSRS. CHATTO & WINDUS\nHAVE THE HONOUR TO ANNOUNCE THAT THEY WILL PUBLISH THIS AUTUMN\nAN EDITION LIMITED TO ABOUT 250 COPIES OF A SELECTION OF\nBOOKPLATES\nby\nGORDON CRAIG\nTHE BOOK WILL CONTAIN: - q5O REPRODUCTIONS IN COLOUR & LINE\nq AN ESSAY ON THE BOOKPLATE BY MR. GORDON CRAIG; q A COMPLETE\nLIST OF HIS WORKS IN THIS FIELD; q & A DESIGN PRINTED FROM ONE\nOF THE ARTIST'S OWN WOODBLOCKS & SIGNED BY HIMSELF. THE\nBOOK WILL BE PRINTED IN ENGLAND AT THE CURWEN PRESS\nPRICE, 3 GUINEAS NET.\nA PROSPECTUS WILL SHORTLY BE ISSUED: PLEASE APPLY TO\n97 & 99 ST. MARTIN'S LANE\nLONDON, W. C. 2."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c088", "article_bluemountain": "bmtnaau_1924-07_01#c088", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "140", "image_debut": 74, "image_fin": 74, "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=bmtnaau192407-01.2.34", "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": 74, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.74", "debut_caractere": 0, "fin_caractere_exclue": 2353, "texte": "WHAT OUR FRIENDS.\nSAY OF \" THE MASK \"\nTHE REFEREE.\nA RICH BUDGET CRAMMED FULL OF LIVE\nTHEATRICAL IDEAS, WITH SOMETHING\nBRILLIANT ON EVERY PAGE\nSeptember 23. 1923.\n\" CONTAINS A MASS OF INTERESTING,\nNOT TO SAY INTREPID, UTTERANCES IN\nTHEATRICAL MATTERS AND THE DRAMA\nGENERALLY. IN FACT IT TOUCHES THE\nSTAGE OF ALL NATIONS-\nFebruary 24. 1924.\nCHRISTIAN SCIENCE MONITOR.\nIT HAS BEEN THE FIRMEST FRIEND AND\nCHAMPION OF THE ACTOR... IT HAS PRO-\nVED ITSELF THE FRIEND OF THE DRAMA-\nTIST, THE DANCER, THE SCENOGRAPHER,\nTHE MACHINIST ; OF ALL WORKERS OF\nEVERY KIND SO THEY BE GENUINE THEA-\nTRE WORKERS, November 10. 1922.\nDAILY TELEGRAPH.\nA VERY AMUSING AND STIMULATING, AS\nWELL AS A MOST BEAUTIFUL MAGAZINE.\nPALL MALL GAZETTE.\nNOT A PAGE IN IT WHICH IS NOT INTE-\nRESTING AND STIMULATING IN A FINE WAY.\nWESTMINSTER GAZETTE.\nA QUITE REMARKABLE MAGAZINE, RICH\nIN INTELLIGENCE.\nN. Y. DRAMATIC MIRROR. U. S A.\nA DELIGHT TO BIBLIOPHILES, WITH ITS\nBUDGET OF FRANK, ORIGINAL NOTIONS.\nProf. WILLIAM ROTHENSTEIN.\nIT IS EVER A DELTGHT TO SEE IT, TO\nHANDLE IT, TO READ IT. January 1924.\nTHE MANCHESTER GUARDIAN.\nI RECOMMEND PEOPLE WHO ARE INTERES-\nTED IN THE THEATRE TO GET HOLD OF\nTHE MASK.\nFebruary 13. 1924. A. N. M.\nTHE TIMES.\n.... THE MASK FULL OF AMUSING WOOD-\nCUTS AND EQUALLY AMUSING LETTER\nPRESS. May 1924.\nTODAY.\nTHE ONLY MAGAZINE DEALING WITH THE\nTHEATRE WHICH I CAN READ WITH PLEA-\nSURE AND PROFIT. December 1923,\nCURRENT OPINION. U. S. A.\nIT STILL REMAINS THE MOST ARTISTIC\nAND FASCINATING THEATRICAL PUBLICA-\nTION IN THE WORLD.\nTHEATRE ARTS MAGAZINE.\nU. S. A.\nTHE MASK IS REAPPEARING WITH ALL\nITS OLD VIGOR, HUMOR, AUTHORITY AND\nBEAUTY.... May 1924.\nCOUNTRY LIFE.\nTHE APPEARANCE OF THE VOLUME IS\nMOST APPETISING. March 29. 1924.\nGLASGOW NEWS.\nANYONE WITH ANYTHING LIKE A PASSIO-\nNATE INTEREST IN THE THEATRE SHOULD\nHAVE FOUND THE MASK BY THIS TIME\nFOR IT IS IN ITS TENTH VOLUME.\nApril 28. 1924.\nDAILY EXPRESS.\nTHERE IS QUITE A LOT IN IT THAT IS\nSTIMULATING, MUCH THAT IS TRUE, VERY\nMUCH THAT IS BITING IN THIS PUBLICA-\nTION. September 26. 1924.\nGRAPHIC.\nAPART FROM ITS ARTISTIC INTEREST IT\nIS A GOOD INVESTMENT, FOR THE FIRST\n8 VOLUMES, BEGINNING IN 1908, ARE VERY\nRARE. November 10. 1923.\nSPORTING AND DRAMATIC.\nTHE DAY OF THE PIONEERS REPRESENTED\nBV 41 THE MASK \" WILL COME. THE MOVE-\nMENT OF THE THEATRE IS IN THEIR\nDIRECTION.\nAshley Dukes. April 26. 1924."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c089", "article_bluemountain": "bmtnaau_1924-07_01#c089", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 75, "image_fin": 75, "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=bmtnaau192407-01.2.35", "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": 75, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 1799, "texte": "SELWYN & BLOUNT. LTD.\nDING DONG BELL\nBy Walter de la Mare.\nCrown Bvo. (Postage, 3d.) ss. net.\n\"An odd lovable little book, stamped with its\nauthor's original imagination, and filled with his\nhaunting sense of wonder and beauty\nThe Daily News,\nLIONEL SMYTHEf R. A., R. W. S,\nBis Life and Work.\nBy Rosa M.Whitelawand W. L. Wyllie, R. A.\nDemy Bvo. Cloth. (Postage, 8d ) 13s. net.\nWith numerous reproductions from his pictures.\nA Biography of one of the most distinguished pain-\nters of his day. This first attempt to relate the\nstory of his life abounds with good stories.\nTWO BOOKS ILLUSTRATED\no BY C. LOVAT FRASER. o\nTHE LIAR : A Comedy.\nBy Carlo Goldoni. Translated by Grace\nLovat Fraser. With illustrations by C. Lovat\nFraser, and an Introduction by Gordon Craig.\nFcafi. 4to. (Postage, s<i.) 7s. 6d. net.\nTHE LUTE OF LOVE.\nWith one hundred decorations\nby C. Lovat Fraser.\nFcap. lh<o. (Postage, 2d.) js. 6d. net.\n\" Bound in quaint covers of red and yellow, the\nlittle anthology of old verse is just the thing for\nlovers of all ages Pall Mall Gazette.\nTWO BOOKS ILLUSTRATED\no BY JOHN AUSTEN. o\nTHE AD VENTURES OFHARLEQ UIN\nBy Francis Bickley.\nWith decorations in colour by John Austen.\nDemy Bvo. (Postage, 6d.) 7s. 6d. net.\nAlso an edition de luxe of 230 copies, signed by\nthe artist. (Postage. 6d.) 13s. net.\nPERFECTION\nBy E<;a de Oueiroz. Translated from the\nPortuguese by Charles Marriott.\nWith decorations by John Austen.\nRoyal Bvo. Boards. {Postage, 4d.) 7s. 6d. net.\nAlso an edition de luxe of 230 copies, signed by\nthe artist. (Postage, 41I.) 13s. net\nAll these books can be obtained from a book\nseller or direct from the Publisher ou receipt of\nthe published price plus postage.\nILLUSTRATED AND SPRING\no LISTS ON APPLICATION . o\nLONDON: 21 YORK BUILDINGS.\nADELPHI. W. C. 2.\nIIIHIMIIIWWII 1111"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c090", "article_bluemountain": "bmtnaau_1924-07_01#c090", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 75, "image_fin": 75, "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=bmtnaau192407-01.2.36", "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": 75, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.75", "debut_caractere": 1801, "fin_caractere_exclue": 2037, "texte": "n ~=\nMESSRS.\nHOWELL & TATE\nHAVE PLEASURE IN ANNOUNCING\nTHAT THEY ARE NOW\nTHE LONDON REPRESENTA TIVES\nFOR THE\nWOODCUTS\nOF\nMR. GORDON CRAIG\no\nTHE ST. GEORGE'S GALLERY\n32a GEORGE STREET, HANOVER\nSQUARE\nLONDON W. x.\nTELEPHONE. MAYFAIR 2852."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c091", "article_bluemountain": "bmtnaau_1924-07_01#c091", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 75, "image_fin": 75, "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=bmtnaau192407-01.2.37", "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": 75, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.75", "debut_caractere": 2039, "fin_caractere_exclue": 3419, "texte": "FOYLE'S BOOK OFFERS.\nEUROPEAN THEORIES OF THE DRAMA\no By BARRETT H. CLARK. o\nAn Anthology of Dramatic Theory and Criticism from\nAristotle to the Present Day, in a series of selected\nTexts, with Comments, Biographies and Bibliographies.\nA Collection of the most significant theories that have\ninfluenced the drama of our own civilization. Will fur-\nnish the reader with an idea of the changes in dramatic\ntechnique as they were gradually introduced from country\nto country and century to century. Over 500 pages.\nPublished at Dollars 3.50 (155.) Bankrupt stock.\nOffered, new, for 5/9 post free, on approval.\nP LAY PICTORIAL.\nWe hold a large and varied stock of this well-known\nperiodical, every copy clean and in good condition. We\noffer: One issue 6d post free. Five issues (in leather\nbinding), 2/6 post free.\nIssues Ito 20 are not included in this offer. Price of\nthese on application.\nON THE ART OF REHEARSAL.\nBy Bernard Shaw, Included in the Arts League of\nService Annual, 1921-22. 1/- post free.\nTHE WAY OF THE WORLD.\nBy Wm. Congreve A Complete Reprint of the First\nEdition (1700) Stiff Paper Covets 1/6. Cloth 2/6.\n(Postage 3d).\nFor any of the above mention offer 232.\nTHAT BOOK YOU WANT ! FOYLE'S CAN SUPPLY IT. IMMENSE\nSTOCK, SECONDHAND AND NEW. CATALOGUES FREE:\nMENTION REQUIREMENTS AND INTERESTS.\nFOYLE'S BOOKLOVERS PARADISE.\n121-125 Charing Cross Road, London, W. C. 2."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c092", "article_bluemountain": "bmtnaau_1924-07_01#c092", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 77, "image_fin": 77, "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=bmtnaau192407-01.2.38", "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": 77, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.77", "debut_caractere": 736, "fin_caractere_exclue": 881, "texte": "THE MASK\nSINGLE COPY\n2/6\n(65 CENTS)\nPOST FREE.\nO\nIF YO U ARE\nIN LONDON\nTELEPHONE NOW\nFOR A COPY\nOR SUBSCRIPTION\nTO\nKEN SING TON\n6650\nO\nm,\nfISSSB*"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c093", "article_bluemountain": "bmtnaau_1924-07_01#c093", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 77, "image_fin": 77, "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=bmtnaau192407-01.2.39", "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": 77, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.77", "debut_caractere": 883, "fin_caractere_exclue": 1469, "texte": "THE DRAMA\nIN EUROPE:\nIN THEORY\nAND PRACTICE.\nBY E. F. JOURDAIN, M. A.\nLATE PRINCIPAL OF ST.\nHUGH'SCOLLEGE, OXFORD.\nWITH ONE ILLUSTRATION\nAND A DIAGRAM.\nCROWN Bvo.\nss. net.\nO\nTHIS BOOK DEALS WITH THE ART\nOF THE DRAMA IN EUROPE IN\nRELATION TO ITS CRAFT, THE\nSTAGING OF PLAYS ; AND COVERS\nTHE PERIOD FROM THE FIFTH\nCENTURY B.C. TO THE PRESENT\nDAY. IT IS HOPED THAT THIS\nHISTORICAL TREATMENT WILL\nENABLE THE STUDENT OF A SPE-\nCIAL DRAMATIC LITERATURE TO\nSEE THE PART TAKEN BY THAT\nLITERATURE IN THE GENERAL\nDEVELOPMENT OF DRAMA IN\nEUROPE.\no\nMETHUEN & Co. LTD.\n36 ESSEX STREET\nLONDON W. C.2."}]}, {"article_id": "bm-bmtnaau-1924-07-01-c094", "article_bluemountain": "bmtnaau_1924-07_01#c094", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 77, "image_fin": 77, "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=bmtnaau192407-01.2.40", "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": 77, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.77", "debut_caractere": 1471, "fin_caractere_exclue": 1621, "texte": "THE MASK\nIS NOW\nADVERTISED\nON THE OUTSIDE\nOF NEARLY\nEVERY ITALIAN\nTHEATRE.\nO\nO U R FRIENDS\nTRA FELLING\nIN ITALY\nWILL RECOGNIZE\nOUR SIGN\nIMMEDIATELY.\nO"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c095", "article_bluemountain": "bmtnaau_1924-07_01#c095", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 79, "image_fin": 79, "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=bmtnaau192407-01.2.41", "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": 79, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 1132, "texte": "I'M!\ntill\n\"I\nm\ni\nmriinsTftwrnmnnnw\nI\nC;\nm\n_i\nRN\nFLORENCE\nVIA DEI Fossi, 17\nEH?\nBROCADES\nDAMASKS\nVELVETS\nFOR\nFURNITURE,\nHANGINGS\n&\nCOSTUMES\nOF\nEVERY KIND\nLIS I O\nTESSUTI D'ARTE\n(BEAUTIFUL WOVEN STUFFS)\nMILAN.\nVIA MANZONI, 41\nTHE CITY OF FLORENCE HAS FROM EARLY\nTIMES BEEN CELEBRATED FOR ITS SILKS\nAND DAMASKS AND BROCADES IN RICH CO-\nLOURS AND FINE PATTERNS, PRODUCED BY THE\nRENOWNED ARTE DELL A SETA OR GUILD OF\nSILK, DATING FROM THE EARLY 13TH CENTURY.\nAT THE LISIO LOOMS THESE MATERIALS AND\nDESIGNS ARE BEING REPRODUCED TODAY:\nTHERE SILK AND GOLD AND SILVER THREAD\nARE BEING WOVEN IN THE PATTERNS OF THE\nROBE OF CHARLEMAGNE OR THE MANTLE OF\nGIULIANO DE' MEDICI, OF A DALMATIC OF A\nTHOUSAND YEARS AGO, OR THE FLOWERS\nTRACED BY THE HANDS OF CIMABUE OR\nBOTTICELLI, AND INNUMERABLE OTHER RARE\nAND BEAUTIFUL DESIGNS.\nMANY OF THESE MATERIALS HAVE BEEN\nPURCHASED FOR THE COVENT GARDEN OPERA\nHOUSE, AND FOR LARGE THEATRES IN NEW\nYORK AND IN ALL PARTS OF EUROPE; AND,\nBY THEIR RICH AND BEAUTIFUL DESIGNS,\nTINTS AND TEXTURES, ARE AS WELL ADAPTED\nFOR SUCH PURPOSES AS FOR USE IN PRIVATE\nHOUSES AND FOR THE FASHIONING OF\nBEAUTIFUL COSTUMES. '"}]}, {"article_id": "bm-bmtnaau-1924-07-01-c096", "article_bluemountain": "bmtnaau_1924-07_01#c096", "volume": "bmtnaau_1924-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 80, "image_fin": 80, "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=bmtnaau192407-01.2.42", "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": 80, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.80", "debut_caractere": 0, "fin_caractere_exclue": 702, "texte": "SUBSCRIPTIONS.\nIF YOU FIND ANY DIFFICULTY IN OBTAINING\nTHE MASK WRITE DIRECT TO THE MASK\nPUBLISHERS, BOX 444. FLORENCE, ITALY,\nAND WE WILL SUPPLY YOU IMMEDIATELY.\nSUBSCRIBE NOW FOR VOLUME TEN.\nAND YOU WILL RECEIVE THE NUMBERS ALREADY ISSUED AND THOSE TO COME,\nANNUAL SUBSCRIPTION. POST FREE.\nPOPULAR EDITION.\nShillings. 10. Dollars. 2.50\nSPECIAL EDITION (WITH COVER FOR BINDING)\nShillings. 20. Dollars. 5.00\nORDER VOLUME NINE TO COMPLETE YOUR SET\nPopular Edition, Brochure: 10/— • $ 2.50.\nFine Paper Edition, Bound. 20/— : $ 5.00,\n$\n111\nW\nm\niM\nviis\nJ\niTrM\nj.\n»ni\nr\nTri\nranca\nHritellino.\nFROM THE a BALLI DI SFESSANIA \" BY JACQUES CALLOT,\nONE OF THE MANY DESIGNS REPRODUCED\nIN \" THE MASK \" IN 1923-1924."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.1", "texte": "THE MASK\nAN ILLUSTRATED\nJOURNAL OF THE ART\nOF THE THEATRE\nVOLUME TEN. NUMBER THREE\nJULY 1924\nADDRESS: BOX 444.\nFLORENCE\nITALY.\nEDITION DEL UXE.\nANNUAL SUBSCRIPTION\nTWENTY SHILLINGS (DOLLARS 5) POST FREE.\nORDER, GIVING THIS ADDRESS, THROUGH ANY BOOK SELLER."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.2", "texte": "THE MASK. JULY 1924\n\nLITERARY\nTHEATRE AND ENGLISH THEATRE .... J. S 95\nJOHN EVELYN AND THE THEATRE IN ENGLAND,\nFRANCE AND ITALY Gordon Craig . . . . .97\nA COLUMN, A Proposal ....... William Marchpane . . . .116\nGOETHE WRITES TO SCHILLER Goethe 117\nTHE CHARACTERS-OF SHAKESPEARE . . . M. B 119\nTO NEARLY ALL OF US OF THE NEW MOVEMENT By Ourselves 120\nTWO AMERICAN THEATRE MAGAZINES . . . John Semar 123\nA NOTE ON GIUSEPPA CORTESI. .... Giovanni Mezzogiorno . . .131\nWORK AND PLEASURE, A Leading Article reprinted from \"The Times\" . . . .137\nLETTERS TO THE EDITOR. BOOK AND MAGAZINE REVIEWS. EDITORIAL NOTES.\n\nILLUSTRATIONS.\nTIBERIO FIORILLI, SCARAMUCCIA .... Habert . . Frontispiece Plate 9\nWALL PAINTING OF A PERSPECTIVE . . . From \" La Perspective Prac-\ntique. 1651. Fig. / . ■ 10\nJEU DE PAUME DE LA CROIX NOIRE . . . Turgot . . Fig. 2 . ■ 10\nPALAZZO MONDRAGONE, FRASCATI. . . . Rainaldi . Fig. I . ■ II\nPLAN OF THE SENATE HOUSE, SIENA . . . Riccio . . Fig. 2 . » 11\nA \" BARRIERA\" IN ROME ...... F. Collignon. . . » 12\nPLAN OF COURT THEATRE, MANTOVA . . . F. C. Motta. . \" 13\nTWO MAPS ILLUSTRATIVE OF EVELYN'S JOURNEY \"14\nINTERMEDIO IN THE \" LIBERATIONE DI TIRRENO \" Callot « 15\nTHE THEATRE OF VICENZA, Elevation and Plan ... .....\" 16\nMILANO: From an 18 th Century Plan . . . . . . . . * 17\nELEONORA DUSE: IN MEMORIAM . . . . E. G. C » 18\nTHE PONT NEUF, Showing the Hotel de Laincourt . . J. Gomboust. . . . Page 101\nPLAN OF PIAZZA DI SPAGNA, ROME . . . Nolli . . . . . \"105\nANFITEATRO DI VERONA G. B. Piranesi . . . ■ 114\nGIUSEPPA: CORTESI ... . . . . Oldani \"129\nMany Head and Tail Pieces from original Woodcuts and old Designs."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.3", "texte": "WOODCUTS\nBy EDWARD GORDON CRAIG\n«jj The MASK Publishers have pleasure in announcing that\nthey are Agents for Mr GORDON CRAIG'S Woodcuts.\nPRICE LISTS COMPLETE INFORMATION\nSENT FREE ON REQUEST.\nSee Plate on pg. 27 in January number of The Mask reproduced\nfrom an original print, size 17X15-8 cm.\nCollectors will be glad to hear that 150 copies\nprinted from the original block on Japanese\npaper and signed by the artist, are available\nat & 2.2.0 each.\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE, ITALY.\n\nTHE MARIONNETTE\nARTICLES ON THE MARIONNETTES,\nBURATTiNI AND SHADOW FIGURES\nOF MANY LANDS AND PERIODS,\nWITH MARIONNETTE FLAYS, & MANY\nILLUSTRATIONS.\nA FEW VOLUMES REMAIN\nON HAND-MADE PAPER.\nBOUND HALF VELLUM.\nPRICE £ 1.12.0 ($ 8.00)\nPOST FREE.\nAPPL Y TO THE MASK PUBLISHERS,\nBOX444, FLORENCE, ITALY.\n1918\nm\nCONTAINS\n\nMASK\nTHERE REMAIN FOR SALE\nSOME COPIES OF THE\nFOLLOWING VOLUMES OF\nTHE MASK\nBOUND IN HALF-VELLUM.\nVol. 1. 1908. £ 2. 0.0 (| 10.00)\nVol. 3. 1910. £ 2.0.0 (| 10.00)\nVol. 5. 1912. £l. 5.0 ($ 6.00)\nVol. 6. 1913. £I. 5.0 ($ 6.00)\nVol. 7. 1914. 16.0 ($ 4.00}\nAlso some copies of the Large Paper Edition of\nVols. 5 & 6at £ 1.15.0 ($ 9.00) each; and\nof Vol. 7 at £ 1.0.0 ($ 5.00) each.\nNOT A PAGE ...WHICH IS NOT INTERESTING AND\nSTIMULATING IN A FINE WAY. (Pali Mall ).\nA DELIGHT TO BIBLIOPHILES. N. Y. Dramatic Mirror.\nTHE MOST ARTISTIC AND FASCINATING THEATRICAL\nPUBLICATION IN THE WORLD. Current Opinion. U. S. A.\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE, ITALY."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.4", "texte": "THE PRINT COLLECTORS QUARTERLY\nWILL APPEAL TO ALL READERS OF THE\nMASK AS IT IS DEVOTED ENTIRELY TO\nTHE WORK OF OLD AND MODERN MAS-\nTERS WHO HAVE MADE A NAME FOR\nTHEMSELVES THROUGH THE SINCERITY\nAND BEAUTY OF THEIR WORK : THE IL-\nLUSTRATIONS ARE MADE WITH GREAT\nCARE AND EACH NUMBER IS FULLY IL-\nLUSTRATED WITH THE WORK OF FOUR\nDIFFERENT ARTISTS AND USEFUL AND\nVALUABLE CATALOGUES ARE ADDED IN\nCASES WHERE THEY HAVE NOT HITHERTO\nBEEN PUBLISHED: THE ANNUAL SUBSCRIP-\nTION IS SEVENTEEN SHILLINGS AND SIX\nPENCE PER ANNUM POST FREE AND THE\nFOUR NUMBERS ARE ISSUED IN THE\nMONTHS OF FEBRUARY APRIL OCTOBER\nAND DECEMBER: SUBSCRIBERS CAN BE-\nGIN WITH ANY NUMBER & CAN FORWARD\nTHEIR SUBSCRIPTIONS THROUGH ANY\nBOOKSELLER PRINT SELLER OR PUBLI-\nSHER OR DIRECT TO THE PRINT COLLEC-\nTORS QUARTERLY AT TEN BEDFORD\nSTREET LONDON WEST CENTRAL TWO\no o o"}, {"page_pdf": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.5", "texte": "m\nCANTAGALLI\nARTISTIC MAJOLICAS\nARCHITECTURAL\nDECORATIONS\nREPRODUCTIONS OF\nWORKS OF\nDELLA ROBBIA\nO\nMAN UFA CTUR Y\nFLORENCE\n(PORTA ROMANA)\nO\nBRA NCH EST A BLISHMENT\nROME\nVIA BABUINO 182.\n\nA LIVING\nTHEATRE\nCONTAINING AN\nACCOUNT OF\n\" THE MASK \"\nAND SOME ARTICLES\nON THE WORK OF\nGORDON CRAIG.\nWITH 20 ILLUSTRATIONS.\nPUBLISHED 1913.\no\nA FEW COPIES REMAIN\nFOR SALE.\nPRICE 4s. ($ 1.)\nPOST FREE.\no\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE,\nITALY.\n\nOLD BOOKS ON THE THEATRE.\nA NOTE ON THE BOOK LIST OF VOLUME NINE.\nTHE Mask Publishers, in offering some old books collected at one\ntime and another in various parts of Europe, beg to draw attention\nto the fact that all these books, with very few exceptions, are newly\nbound in half vellum and paper boards. The exceptions are cases where\nthe binding is already good, or the old covers too attractive to take off,\nor where the volume is not quite worth rebinding expensively.\n<J In some cases our books are illustrated by some extra plate, or some\nother feature which renders them unique: some are autographed or\ncontain a bookplate.\nOur List published in Volume 9 contained some of the best books on\nthe subjects enumerated, and some of the rarest: also a number of unusual\nminor works, which have often as great a value as more famous volumes.\nC| Enquiries from Collectors of Theatre Books will be welcomed, and\nshould be addressed to:\nTHE MASK PUBLISHERS, BOX 444. FLORENCE."}, {"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.6", "texte": "|llllllllllllHlllllll!lllllllllllllllillllHl||||||||||||||||||||||||||t||i||||||]||\n= A SHORT LIST =\n= OF =\nSOME ENGRAVINGS ON WOOD =\nI BLACK FIGURES 1\nby\nEDWARD GORDON CRAIG.\nDESIGNED AND CUT ON WOOD BETWEEN THE\nYEARS 1907-1919 AND EVERY COPY PERSO-\nNALLY HAND-PRINTED BY THE DESIGNER.\n000\nCOLLECTIONS OF THESE PRINTS CAN BE SEEN\nAT THE VICTORIA AND ALBERT MUSEUM,\nLOND ON; THE KUNSTGEWERBE MUSEUM,\nZURICH; AND THE RYKS MUSEUM, AMSTERDAM.\no o\nTHIS LIST WILL BE SENT ON REQUEST.\nA SECOND LIST OF BOX-WOOD CUTS\nHAS BEEN PREPARED.\no\n\" THE MASK \" PUBLISHERS. BOX 444.\nr= FL O FENCE. IT A L Y.\n\nBllllllllllll||||imilllllllllllll!llllll!Sl|||!l||||||!|||||Ull||||||||||||||||||!Q\nm\n&\n0*\na a\nII\nII\na*\nSI\nCHELSEA PUBLISHING COMPANY\nLONDON AGENCY\nFOR\n\" THE MASK \"\nCOPIES ON SALE.\nALL INFORMATION FURNISHED\nBOOK-SELLERS SUPPLIED\nSUBSCRIPTIONS RECEIVED\ni 6 ROYAL HOSPITAL ROAD\nCHELSEA, LONDON\nTEL : KENSINGTON 6650.\nBilllllllllllllillll!li!l||||||||!|]|||||||Bll||||||||||||||||||||||||||||||!||)||||gi\n\nTHE G INNER-MA WE R SCHOOL\nTRAIN STUDENTS IN THE ARTS OF THE DANCE AND THE THEATRE\nT~) ÜBY Ginner and Irene Mawer are working to promote the right\nunderstanding of Dance, Drama, Poetry and Mime as Educa-\ntional forces and as expressions of individual and national life.\nStudents may tiain for the Stage or for the Teaching Profession.\nA special feature of the School is the Children's Section, in which\nthe children are helped to develope personality, originality and a love\nof the beautiful through the medium of Dance, Poetry and Drama.\no o o\nParticulars of the various branches of the School Work may be obtained from :\nTHE SECRETARY, THE GINNER-MAWER SCHOOL, LINDSEY HALL, THE MALL,\nNOTTING HILL GATE, LONDON, W. 8."}, {"page_pdf": 7, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.7", "texte": "GIORGIO & PIERO ALINARI\nPUBLISHERS. VIA STROZZI i, FLORENCE.\nGRAND COLLECTION OF PHOTOGRAPHS\n50.000 SUBJECTS OF ALL THE TOWNS OF ITALY. GREECE, PARIS, DRESDEN\nPLATINUM, BROMIDE, CARBON PRINTS, ETC. ARTISTIC REPRODUCTIONS\nOF VIEWS, PICTURES, SCULPTURES, ARCHITECTURAL DETAILS, ETC.\nlii\nA View of the Ponte Vecchio. Florence.\nBOOK EDITIONS RECENTLY PUBLISHED,\nFLORENCE\nORIGINAL ETCHINGS BY ANTONIO CARBONATI WITH PREFACE\nBY VITTORIO PICA.\nORIGINAL ALBUM ON JAPANESE PAPER ; 100 COPIES NUMBERED AND\nSIGNED, ENCLOSED IN A FINE LEATHER COVER."}, {"page_pdf": 8, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.8", "texte": "ttt,\nfJA\nlit\nJUNK!\nAn expressive, transatlantic term applied\nto useless, ugly or pretentious furniture.\nWe are all apt to have some of it—in the\nspare bedroom, if nowhere else.\nSome perhaps we inherited, some was\nthrust upon us at marriage; some is an\nindiscretion of our own which maturer\ntaste rejects.\nHEALS take the greatest care to make\nit impossible to buy JUNK at their shop\n—not so easy a thing to ensure or so\nlight a claim to make, as may at first\nsight appear.\nHeal & Son fe1\nTOTTENHAM COURT ROAD. Wl.\nBedding, Bedstead, Upholstery, and Furniture\nDealers in Carpets, China, Fabrics & Decorative things."}, {"page_pdf": 10, "page_imprimee": "[94]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.10", "texte": "TIBERIO FIORILLI, “SCARAMUCCIA”.\nDiploma with portrait by Habert.\nPlate 9.\n\nTHE MASK\n1924"}, {"page_pdf": 11, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.11", "texte": "THE MASK\n'908^1^3^^1924\n\nTHEATRE AND ENGLISH THEATRE\n\nTHESE are not one and the same thing.\nThe Theatre is a world thing: the theatre of England\nis a local thing. In the World Theatre the theatre of England\nhas a place, but not the first place. Its place is near the\nFrench Theatre. The French Theatre will not protest when we\nremind it that Shakespeare (though exiled by us) is still a member of\nour Theatre, and a name we use to conjure with.\nWHILE the Russian, German and Italian Theatres cannot show\na star of such magnitude and brilliance as Shakespeare or\nMoliere, they are today taking more forward positions than those to\nwhich the French and English manipulators are happy to see their\ntwo theatres relegated.\nThe Russians, Germans and Italians use the best brains of their\nTheatres*\nThe American Theatre is awake to possibilities.\nTHE English Theatre concerns us most. We would like to see it\nin a more leading position.\nThe English Theatre is hide-bound. It continues to allow the same\nold underhand manipulators of the last forty years to muddle things.\nIts critics, if old, mutter the same contented platitudes; if young, a five\nyears course of the underhand Professionalism soon brings them to toe\nthe line and mumble what they are told to mumble."}, {"page_pdf": 12, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.12", "texte": "JF this be good enough for you, it is not good enough for us.\nBut how get along with things, ....how get things better....how esta-\nblish a theatre that is worth while?\nBy establishing a National Theatre ? That might prove to be merely\na waste of Public money, for some of those interested in seeing it estab-\nlished are too self-interested. We are not ready for a National Theatre,\nfor we have nothing to put into it. Names are nothing. Shakespeare is\na name and we have rendered it a valueless one today, for we cannot\ndo justice to one of his works ; at best we can but vamp happily, or\nsentimentally, through one or two. By saying this we would not un-\ndervalue the work of the \" Old Vic \" whose members we believe to\nbe an honest group of workers. The '* Old Vic \" may do good\nwork; it is spoken of as one of the best companies at present in harness;\nbut it is not greatly gifted enough, not powerful enough, to restore\nto Shakespeare his old values. Which are immense.\nHonest men working without thought of self, we must have; but\nwe must also have an honest man of brains and imagination as their\nleader.\nNOT until England chooses to drive away the hundreds of petty\nsomebodies, ceases straining an ear to the mumbling of certain\ncritics, those poseurs who have kept our Theatre under for these last\ntwenty years, not till then will there be room for the better workers.\nUntil England clears out the underhand Professional \" manipulators \"\nand invites the new men in, the English Theatre will be forced into\nthe background by other European theatres.\nUNTIL all the artists, and the whole art of the Theatre, be rein-\nstated in the English Theatre, and placed under one leader, the\nold critics may mumble in good prose and the young critics may cry out\nfor mild reforms; ....all is useless. The English Theatre will remain in\nthe place it now fills with such unnecessary distinction,—a back seat.\n\nJ. S."}, {"page_pdf": 13, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.13", "texte": "JOHN EVELYN AND THE THEATRE\nIN ENGLAND, FRANCE, AND ITALY.\nDEDICATED TO THE MEMORY OF CHARLES STUART II.\nBY GORDON CRAIG.\n\nPART ONE. BEFORE ITALY\nHAS it not been admitted long ago that\nJohn Evelyn is one of the most\ncharming, one of the best of English tra-\nvellers ? No great traveller in the sense\nthat he goes great distances ; but wher-\never he does go he behaves better than\nanyone else. Coryat, who races through\nItaly, France, Germany, England and the\nNetherlands in five months, hastily gob-\nbling up, as he admits, these morsels,\n\" and now \", he adds, \" dispensing to\nthe nourishment of the traveling man of\nthis kingdome \" Coryat must be grum-\nbling at all he sees, five months for five\nlands, ....a month a-piece.... always finding\nthings \" begarly \", always comparing un-\nfavourably, always showing an astonished\nopen mouth (if not an open mind), at\n\" things that I never saw before \" ; in short,\nalways rude.\nBut Evelyn, enjoying himself, never\ngrumbles that he is abroad; and what\nbetter behaviour than this were possible ?\nHis travels take him no-further than Italy.\nStarting on Wednesday, the 1 1 th\nNovember, 1643, at the age of twenty-\nthree, he stops a while in Paris, goes\ndown to Genoa; on to Siena; arrives in\nRome, getting there on Friday, November\n4th., 1644. So he has taken a full year\nto reach the fine city, and there he loiters\ntill the end of January, 1645, that is to\nsay, for three months.\nNow to begin with, this is good be-\nhaviour ; for to rush to, and through a place,\na place which is not your own, is to be in\na hurry. To do a thing in a hurry is a\npity, and to visit a place like Italy, which\nmen have laboured for centuries to perfect,\nwith haste as your guide, unless you be\na monarch, a great person, whose time is\nnot his own but his People's, or a courier\nor a commercial traveller, is to be a donkey:\nsuch a donkey as was Coryat, as was\nLithgow, as were neither Byron nor Goethe.\nYet, for me, Evelyn is a better traveller\nthan either of these two. He is so staid,\nyet so able to enjoy.\nAgain, Evelyn does not potter around\nlooking for trouble ; no one tortures Eve-\nlyn, whereas Mr. William Lithgow, who\nspent nineteen years afoot, went 36,000\nmiles, seemed unable to rest until he was\non the rack.\nAfter leaving Rome, Evelyn goes down\nto Naples, but returns to Rome, recollec-\nting in time that if he once sees Naples\nproperly he must die, preferring to have\na last glance at Rome, and to live to see\nVenice. So he is back in Rome by\nMonday, February 1 3th., and stays there\nuntil Thursday, May 18th., enjoying the\nearly Spring \" purchasing many books\npictures and curiosities \". Then Venice\ncalls, and he moves in that direction so\nas to be there \" if possible, by the Ascen-\nsion \", in May, regretfully \" turning about\nto behold this once and yet glorious city\n(Rome) from an eminence.... to give it my\nlast farewell . Is he not charming as a\ntraveller? Who understands so well, the\nsecret of this youthful, ancient city, \" This"}, {"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.14", "texte": "once and yet glorious city \". Others would\nnot have risen to the \" and yet \".\nWhile purchasing books and pictures\nhe had met all the men of note, seen most\nthings, enjoying all the things he had seen,\nwithout unusual surprise, yet without mis-\nsing a spark of the novelty of it all; gar-\ndens, houses, grottoes, hangings and other\nexecutions, carnival impertinences, fireworks,\nruins, sermons, jewels, sculpture, men and\nwomen, all these things are immensely\npleasing to Mr. John Evelyn; and it is\njust because he is such a gentleman of the\nworld, never in a hurry, always at his ease\nand keen about all that is happening, that\nI value so highly all that he writes about\nthe Theatres which he found pleasant to\nvisit. And he writes of them as he writes\nof Cardinals or of ruins, of pictures or\nthe fire-works; to him they all live, and\neach lives with its own life, and is there-\nfore not to be confounded with the others.\nNever does he fail to understand and\nso never is he rude. Indeed, a charming\nEnglishman; and, after he had left Italy,\nassuredly those Italians who had met him\nmust have been forced to revise their judg-\nments of the northern savages.\nI cannot imagine old Pepys toddling\ndown to Rome. He evidently could not\nimagine himself doing that, and so he did\nnot g0.... wise old man: and surely this\nPepys was born old even as Evelyn died\nyoung at 86. Pepys' words are so often\nquoted, his chatty bits about Nell Gwynne,\nDrury Lane and so home to bed, with\nall the rest of it. He has grown so stale\nand parochial that he has ceased for me\nto be anything but a bore. He is the\nDemocrat's blessing, I know it; still I would\nlike to ship him to Germany in exchange\nfor Shakespeare. He is so comfortable,\nand gemutlich he could remain.... in Ger-\nmany.\nA dear old man, perhaps; and without\nhim so much would be lost when we come\nto the passages in Evelyn's hook when the\ntwo men meet long after Evelyn's travels\nare over forever and a day. At these\nmoments my mind's eye glances back across\nthe Alps, and I look at Evelyn. We are\nin Pepys' snug smug r00m.... outside the\nwindow, a grey mist, and lanterns and the\nmoving torches.... here, this little traveller,\nnow grown old, stands against the man-\ntelpiece listening to \" the rare voice of\nMr. Pule, who was lately come from\nItaly \", singing \" several compositions of\nthe late Dr. Purcell \". Mr. Pule (plain\nPaoli, or Paul, in Venice without any Mr.)\nis doing his best with the sad sweet Irish\nairs of Purcell. When he returns home\nto Venice he will tell them of Purcell and\nof sadness : of that no doubt whatever.\nBut will he speak of il Signor Pepys ?\n\" Yes \", he may say, \" In Londra, c'e\nun Signore.... molto ricco.... vada, Bruno,\nvada, a Londra \".... adding, \" and do not\nforget when you do go to call yourself\nMr. Brun. It's only over here that we,\nthe Vincis and the Cellinis, are known by\nour christian names Paolo, Leonardo, Ben-\nvenuto. In London it isn't done \". And\nas Evelyn stands there, he knows this, but\nhe will not undeceive poor old Pepys; the\nthought brings back to him a glimpse of\nhis early days in Italy\nNo, he will not undeceive poor old\nPepys : Pepys so ready to believe all he\nhears about Drury Lane or Nell Gwynne,\nbut almost unaware that Italy is a real\nplace.\nWhat Pepys tells us of the Theatre\nis not worth the telling. He had no ears,\nand no eyes even when his sight was\ngood (k).\n\n(a) Well, to be strict to history there was a large\nfamily called Polo in Venice; so he could be one of\nthese ; a Mr. Polo, but Mr Pule, never.\n(b) 1 have read his Diary and I find it not readable*\nYet how vastly more popular than Evelyn's."}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.15", "texte": "Figure 1. - WALL PAINTING OF A PERSPECTIVE TO ENLARGE A\nROOM OR COURTYARD.\nFrom “La Perspective Pratique” 1651. (2nd Edition).\n\nFigure 2. - JEU DE PAUME DE LA CROIX NOIRE,\nFrom \" Plan de Paris \" Turgot. (1734-39).\nThe Jeu de Paume was between Rue des Barres and Quai St. Paul, and may be said\nto have been somewhere within that space stretching from the words “des\" to \"St.\"\nPlate 10.\n\nTHE MASK\n19 i 4"}, {"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.17", "texte": "Figure I. - PALAZZO MONDRAGONE, FRASCATI, SHOWING GARDEN\nAND THEATRE.\nFrom an Engraving by Rainaldi (1611-1614).\n\nFigure 2. - PLAN OF THE SENATE HOUSE, SIENA,\nshowing the position of the Theatre (star) built 1560. (Riccio).\nPlate II.\n\nTHE MASK\n1924"}, {"page_pdf": 19, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.19", "texte": "Evelyn had taken care to acquire acute\nsenses before he left for Italy, as you will\nsee when I remind you of what he did,\nand what he heard and saw, and how\nhe received it all. I cannot write of it\nall: I may not make a big book, nor\ncould I if I might, but I wish to linger\na short while on all that he speaks of\nconcerning the Theatre, even if I make a\nsmall book in doing so, and 1 will repeat\nall he says, and begin at the beginning.\nFIRST of all I will hazard a reason for\nEvelyn's interest in the Theatre.\nThe earliest record of his about a\nplay is one associated with pain.... and,\nas we know, there is nothing so surely\nbrings back a clear remembrance of a thing\nas pain does. (c)\nSomething we had not loved so very\nmuch (not having noted it) becomes dear\nto us, not because of the pain, but be-\ncause our mind must return, and return\nagain, to consider this unnoted thing.\nLying wounded in a field of dandelions,\ndandelions at which we had looked without\ninterest all our life long, we shall never\nforget them—their form—their colour—\ntheir movement—their scent. They will\nbecome dear, for we shall have come to\nknow them at last. And, so it was with\nEvelyn and the Theatre. Evelyn is se-\nventeen years old : \" The Christmas en-\nsuing being at a comedy, which the\ngentlemen of Exeter College presented\nto the University, and standing, for the\nbetter advantage of seeing, upon a ta-\nble the Hall, which was near to\nanother, in the dark being constrained\nby the extraordinary press to quit my\nstation, in leaping down to save myself\n1 dashed my right leg with such vio-\nlence against the sharp edge of the other\nboard, as gave me a hurt which held\nme in cure till almost Easter, and con-\nfined me to my study\nOXFORD, DEC. 9, 1637.\nConfined in his study for thirteen to\nfourteen weeks, his thoughts turn again\nand again to the Comedy.... to this stage\nvision which was suddenly blotted out\nwithout reason and the last glimpse of it\nbitten into the brain.... into the whole\nbeing rather.\ntf The first Theatre entry in his diary\nrecords a comedy seen in England, the\nsecond records a perspective—the third\nsome marionettes—the fourth a theatre :\nall seen in Paris as he lingers there on\nhis way to 1ta1y.... play, scene, perfor-\nmers and theatre, all in the right order.\nHe stays in the French capital from\nthe beginning of December, 1643, until\nthe middle of April, 1644. Four-and-\na-half months is a long time ; there is\nample margin to see things, many little\nthings, in eighteen weeks, more especially\nsince things were really happening in 1 644\nin Paris. Moliere is in Paris, he is be-\nginning to play comedies, but he is not\nattracting much attention, so no one seems to\nhave taken Evelyn to see him. On Ja-\nnuary 1 st. of this year Evelyn could have\nseen Moliere at the Faubourg St. Ger-\nmain, and seen \" The Illustrious Theatre \"\nat work, for it was founded that year :\nor he could have seen him at the Jeu de\n\n(c) 44 One day wnen I (Benvenuto Cellini) was about\nfive years old, my father was sitting in a ground-floor\nroom of ours in which washing had been going on,\nand where a large fire of oak logs had been left. Gio-\nvanni, his viola on his arm, was playing and singing by\nhimself near the fire, for it was very cold. Looking into\nthe fire, he chanced to see in the middle of the most ar-\ndent flames, a litttle creature like a lizard disporting him-\nself in the midst of the intensest heat. Suddenly aware\nof what it was, he called my sister and me and pointed\nit out to us children. Then he gave me a sound box on\nthe ears, which made me cry bitterly, at which he soothed\nme with kind words, saying 4 Carina mio, I do not hurt\nyou for any harm you had done ; but only that you might\nremember that lizard in the fire there is a Salamander,\nwhich has never been seen for a certainty by anyone be-\nfore. Then he kissed me and gave me some farthings\n44 Vita di Benvenuto Cellini"}, {"page_pdf": 20, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.20", "texte": "Paume de la Croix Noire on the Quai\nSt. Paul. (Plate 10, fig. 2). But neither\nMoliere nor \" the Illustrious Theatre seem\nto have been quite ripe. Moliere is not\nyet even taking his lessons from the great\nItalian comedian, 1 iberio Fiorilli, (plate 9)\nand it is only after he has done so in\n1645 that he perceives how long the craft\nof Italian acting will take to master, and\nthat, as life is as short as ever, seven or\neight years will not be too long a time\nto devote to the study and practice of\nthe craft. And so, off he goes into the\nFrench provinces to hide his blundering\nfirst steps, concocting at the end of that\ntime his first comedy, more or less a copy\nof an Italian comedy called \" The Blun-\nderer \".\nEvelyn looking around, overlooks this\nlittle beginner, Moliere. Yet he has his\neyes wide open, and one or two curious\nthings are noted down by him. The first\nof these is a piece of skilful perspective,\nnot this time in a theatre, but on a wall,\nin Cardinal Richelieu's villa at Ruell. In\nthe Orangery there he is pulled up by\nperceiving at the end of it, \" the Arch\n\" of Constantine, painted on a wall in\n\" oil (?) as large w as the real one in\n\" Rome, so well done, that even a man\n\" skilled in painting, may mistake it for\n\" stone and sculpture. The sky and hills,\n*( which seem to be between the arches,\n\" are so natural, that swallows and other\n\" birds, thinking to fly through, have dash-\n\"ed themselves against the wall. I was\n\" infinitely taken with this agreable cheat \".\nHere we have an example of that per-\nspective painting which was soon to play\nan important part in the Theatre of the\nnext hundred years or so.\nIt had not yet become the fashion in\nthe north to paint perspectives in the Thea-\ntres, but it was occasionally employed to\nlengthen or vary the appearance of small\ncourtyards. (Plate 10, Fig. 1) (Mr. Povey\nhad an elegant house in Lincoln's Inn Fields\nin 1664 with a perspective painted by\nStreeter in his court. Count de Lain-\ncourt had one as we shall see, in his gar-\nden in the Rue de Seine in 1644. In\nItaly they were the fashion). And some\nperspective scenes were being done at this\ntime in Italy, and by painters, although\nthe artists interested in the Theatre were\nstriving to perfect a different kind of per-\nspective scene there. This was a thing\nbuilt, according to the rules of false per-\npective. (e)\nThis painting on the wall at Ruell\nwas, to Evelyn, an \" agreable cheat \".\nWell, so long as it was agreeable to him,\nwho shall find fault ? Evelyn is a gentle-\nman who is able to persuade me, by his\nplain way, to many a pleasant folly em-\nployed by our ancestors in their life and\nin their Theatres, against which all the\ndull logic of more cynical men could not\npersuade me.\nEvelyn's quiet delight in devoting fifteen\nlines to recording this glimpse of a small\nMarionette Theatre in Paris, delights me,\ntoo, in just the same way, and in like mea-\nsure no less, no more.\nI have not come across his \" find in\nany other record; even the historians Ma-\ngnin (1852) and Maindron (circa 1890),\nRehm (circa 1892), Joseph (1920), (9\nseem to have been, unaware of this Tea-\ntrino, and it is no usual one. I hope some\n\n(d) He had not yet seen the \" real one in Rome\nand so it is likely that he only reports what he is told by\nhis guide.\n(e) See later \" Vicenza \" ; 1646. March. Page 33.\n(f) Magnin, C. Histoire des Marionnettes en Eu-\nrope (1852). Michel Levy Fr£res, Paris.\nMaindron, E. Marionnettes et Guignols (circa 1890)\nFelix Juven, Paris.\nRehm. S. Das Buch der Marionetten (circa 1892)\nErnst Frensdorff, Berlin.\nJoseph, H. H. A Book of Marionettes (1920)\nB. W. Huebsch, New York."}, {"page_pdf": 21, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.21", "texte": "SHOWING THE PONT NEUF, AND THE HOTEL DE LAINCOURT IN THE RUE DE SEINE, WHERE\nEVELYN SAW THE CURIOUS PUPPET THEATRE.\nProm a Reproduction of the Plan of Paris by Jacques Gomboust, 1652, and reproducing Paris about the year 1649.\nEvelyn was there in 1644.\n\nTHE MASK\n1924"}, {"page_pdf": 23, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.23", "texte": "FROM A PLATE ENGRAVED BY F. COLLIGNON.\nSHOWING FESTA GIVEN IN THE PIAZZA NAVONA, ROMA ON FEBRUARY 25, 1634.\nEvelyn saw the Piazza as it is shown here if we omit the temporary Teatro. In this Teatro we see a “ Barriera ”\nbeing performed on a scale worthy of a great city. The inventer of the Teatro and the big ship seen in the right hand\ncorner was Francesco Guitti of Ferrara who also invented some of the songs. This same Guitti invented for the Carnival\nin Ferrara (1638) a stage with an interesting arrangement op steps leading down to the floor of the auditorium.\nSee Hammitzsch. pg. 35 for reproduction of copper plate showing the arrangement.\nEXPLANATION OF THE ABOVE PLATE:\nA. & B. TWO ENTRANCES OF TEATRO. H. TROOP OF EGYPTIANS. Q. PALACE OF THE PRINCE OF MASSA\nC. POSITION OF THE MANTENITORE. I. TROOP OF SCYTHIANS. R. MARCHESE MALATESTA MASTER OF\nD. TROOP OF FOUR CAPTIVE KINGS. L. PALACE OF DUKE GIOV. ANT. ORSINI. THE FIELDS.\nTHE VASCELLO OR BOAT.\nE. TROOP OF ROMANS. M. BOX OF THE JUDGES T BOX OF DON PROSPERO COLONNA\nF. TROOP OF PROVENZALI. N. BOX OF PRINCESS D ANNA COLONNA. V CHURCH OF SAN JACOMO DELLE SPAG.\nTROOP OF ROMANS DETTA LA PER- O. BOX OF THE LADIES. GNUOLI\nTINACE. P. PALACE OF THE MILLINI. X. CARDINAL BARBERINI'S DWARF.\nPlate 12.\n\nTHE MASK\n1924"}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.25", "texte": "DESIGN FOR A COURT THEATRE IN MANTOVA 1676.\n(F. C. Motta architect.)\nPlate 13.\n\nTHE MASK\n1924"}, {"page_pdf": 27, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.27", "texte": "day to find a design showing us what it look-\ned like : here is something for a student to\nsearch for in the archives of Paris. And\nthis is Evelyn's entry : 44 1 went to see the\n44 Count de Laincourt's Palace in the\n44 Rue de Seine (See Page 101) which\n44 is well built. Towards his study and\n44 bedchamber joins a little garden, which,\n44 though very narrow, by the addition of\n44 a well painted perspective, is to appea-\n-44 ranee greatly enlarged ; to this there is\n44 another part, supported by arches in\n44 which runs a stream of water, rising in\n44 the aviary, out of a statue, and seeming\n44 to flow for some miles, by being arti-\n-44 ficially continued in the painting, when\n44 it sinks down at the wall. It is a very\n44 agreeable deceit. At the end of the\n44 garden is a little theatre, made to change\n44 with divers pretty scenes, and the stage\n44 so ordered, with figures of men and wo-\n-44 men painted on light boards, and cut\n44 out, and, by a person who stands un-\n-44 derneath, made to act as if they were\n44 speaking, by guiding them, and reciting\n44 words in different tones, as the parts\n44 require. We were led into a round\n44 cabinet, where was a neat invention for\n44 reflecting lights by lining divers sconces\n44 with thin shining plates of gilded cop-\n-44 per\". ST. GERMAIN, MARCH Ist. 1644.\nObviously one of the most interesting re-\ncords of a 1 7th. century marionnette theatre\nwhich exists. Evelyn has seven more\nentries which touch on this little branch\nof Theatre work.\nWhile in Paris, Evelyn 44 often went\nto the Palais Cardinal \" and saw its thea-\ntre ; of this he says no more than that he\nsaw it. Of the performances there, if he\nwas present at any, he has nothing to\nsay.\nIn fact, he is struck by no dramatic\nperformance at all in Paris. Yet Riche-\nlieu's theatre was just opened (January\n1641) and the Cardinal liked things done\nproperly, and as Evelyn moved in high\ncircles he would have had little difficulty\nin being present at the properest of Court\nperformances.\nIn the Marais Tennis court, in Paris,\nperformances were to be seen with Mon-\ndory (a fine actor, one hears) in the chief\n\n(g) Perhaps The Count de Laincourt should be put down\nas eccentric because he finds pleasure in having such things\nas marionnettes in his palace. Magnin, the historian, tells\nus that the Due de Guise, in 1650, had such little figures\nin his chateau at Meudon ; that Charles V had them in\nthe monastery of Saint Justin ; that Mme. la Duchesse de\nBerry, in 1713, had them at Versailles; the Duchesse du\nMaine, in 1705, at Sceaux ; Voltaire at Cirey had them\nand wrote for them ; Cosimo I cf Florence at the Pa-\nlazzo Vecchio and Francesco I at the Uffizi enjoy these\nspectacles; Lorenzo de' Medici too. The long list of la-\ndies and gentlemen who have understood these beings is\nunending. Charles Perrault (1628-1703) in his 44 Conte\nde Peau d'Ane \" writes ;\nPour mot, fose poser en fait\nQiden de certains mom ens Vesprit le plus parfait\nPent aimer sans rougir jusqu'aux marionnettes,\nEt quHl est des temps et des lieux\nOil le grave et le serieux\nNe valent pas d'agreables sorneties.\nand 44 an entire day \" writes Girolamo Cardan, the cele-\nbrated mathematician and physician, (1550) 44 would not be\nsufficient in which to describe these puppets that psay,\nfight, shoot, dance and make music; while Bernadino\nBaldi in 1575 pens a sonnet to Urbin the great mathe-\nmatician who loved them, wherein he praises the puppets.\nBy ail this we see that Puppets of distinction were disco-\nvered before 1923.\n(h) 1644. This is by no means an early record, for\neven in England, in 1573, Italian marionnettes or pupazzi\nestablished themselves in London, and the Lord Mayor\nauthorizes them to 44 be allowed to settle in the city and\nto carry on their strange motions, as in the past and from\ntime immemorial And can't one see and hear the eager\nItalian, as he applies for a licence, whispering to the Lord\nMayor's secretary, saying, 44 Tell him, Signer, tell him that\nsince Gesii Cristo, nay even since the Padre Eterno him-\nself, this noble company of little people have praised the\ncreation. Tell him that the Pope in Roma sanctions my\ncousin's marionnettes... and his are not a patch on mine.\nTell him this \".... The secretary charmed, warmed, nods\nhis head, and with twinkling eye, goes in to see Mr. Ri-\nchard Hobson, wool merchant of the city of London.\n\"Do you think it will be all right, Macklin ? asks the\nMayor. 44 Well \", replies the Secretary, 44 1 don t know-\nbut the Pope.... \" 44 Yes, it's rather strange of a Pope....\n5ti11.... \" and he signs, and rather happily smiles as he signs.\nThe secretary returns to the Showman in two moments\nwith a charter."}, {"page_pdf": 28, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.28", "texte": "parts. Tiberio Fiorilli G) was in Paris in\n1639 and 1645.\nYet Evelyn speaks of none of these.\nPerhaps he is waiting until he sees the\nItalian Theatre work. When he comes\nupon this, he speaks to some purpose, as\nwe shall see later.\nPART TWO. ITALY.\nAND now he goes down towards Italy,\nstopping here and there on his way\nto make a note of a theatre or two. On\nThursday, September 15th., \" a singing\ntheatre \" is noted in the Cardinal's old\nhouse at Richelieu ; another, an amphi-\ntheatre, in ruins but \" pretty entire \", at\nVienne in Dauphine; this on Friday Sep-\ntember 30th ; and on Sunday, October\n9th., \" the ruins of a most stately am-\nphitheatre \" at Peigneux \" which I went\nout to design \" and which was called the\nRolsies.\nThen at last—Italy ! He passes\nthrough Genoa, Pisa, Livorno—and on to\nFlorence, arriving there on Sunday, Octo-\nber 23rd., and leaving in a few days for\nSiena, or Sienna, as he writes it. Here\nhe seems for the first time to get word\nof Italian opera, for he writes : \" In the\nSenate House is a very fair Hall, where\nthey sometimes entertain the people with\npublic shows and operas, G) as they call\nthem \". OCTOBER, 1654. SIENA.\nThe \" very fair Hall \" here spoken\nof by Evelyn, is seen in the plan which\nI give here of the Senate House (Plate 1 1,\nfig. 2). It was a theatre built in 1 560\nby Bartolomeo Neroni, detto Riccio, to\nbe rebuilt in 1 753 by Antonio Bibiena, a\nson of \" il Famoso \" Fer-\ndinando Galli of Bibiena. A theatre is\nstill there but it does not look very inte-\nresting, and as most of Antonio Bibiena's\nexisting Theatres look most interesting I\ndoubt if the Siena remains are those of\nthe 1 753 play-house.\nSo far, Evelyn seems to have seen no\nperformances, probably for the reason that\nit is not yet Carnival time when he ar-\nrives in Italy, and it was usually only at\nCarnival time that the Italian theatres\nwere in full swing.\nFrom Siena he goes on through Monte\nOlivetto, Buon Convento, Torrinieri, to\nSt. Quirico. Here was born much later\nthat abominable scenographer Sanquirico.\nEvelyn would not have called his work\n\" abominable\" ; what would he have\nsaid of it, I wonder ? Here Evelyn sees\nnothing of any theatre, but he writes,\n\" .... we lay at a private osteria near\n\"it (the village) where, after we were\nprovided of lodging, came in Cardi-\n\" nal Donghi, a Genoese by birth, now\n\" come from Rome ; he was so civil as\n\" to entertain us with great respect, hea-\n\" ring we were English, for that he told\n\"us he had been once in our coun-\n\" try.... He came with great state with\n\" his own bedstead and all the furniture,\n\n(i) The name of this actor is sometimes incorrectly\nspelt and this brings to the student a large slice of trouble.\nThere were two other actors of Italy born in Napoli and\nwho wrote their names FIORILLO. Our actor's name is\nspelt FIORILLI.\nMaurice Sand for no known reason misspelt it as\nFIURELLI, and H. Maynard Smith, Andrew de Ternant,\nAlladice Nicoll, J. A. Symonds and M. Moland make\nthe same error.\nOn the other hand those who spell it correctly are;\nCo3tantini (1695); F. Bartoli (1701); Campardon (1871);\nA. Bartoli (1880); Pougin (1885); Rasi (1897); Mant-\nzius (1903); Toldo (1910); and Tonelli (1924).\nOn seeing a document signed by this Actor in 5667\non March 25th, and noting that he too spells his name\nletter for letter as do these nine authorities, our opinion of\nthem as careful Historians is not weakened.\nM. Andrew de Ternant was so particular, recently, to\n* correct' a correspondant in \" Notes and Queries , saying\nthat Fiorilli's name must be spelt Fiurilli that these few\nwords will not be amiss. (For Fiorilli s portrait see Plate 9).\n(j) Such operas had not yet been seen or heard in\nEngland, and it is not until thirty years later on January 5,\n1674, that Evelyn, then 54 years of age, reports the arri-\nval of the first Italian opera in England."}, {"page_pdf": 29, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.29", "texte": "\" yet would by no means suffer us to re-\n'' sign the room we had taken up in the\n\" lodging before his arrival \". The si-\nlence of this little place, the bustle of a\ncoloured Cardinal coming laden with beds\nand things from one direction, meeting\nwith our plain Evelyn, coming bedless\nfrom another; the one old, knowing Rome\nand most things else so well ; the other\nyoung, and spruce and all so polite and\nand polished. I like it, for it reminds me\nof an unwritten chapter by Dumas.\nOn goes Evelyn, and up to Radico-\nfani, 12 miles further to Acquapendente,\ndown to the Lake of Bolsena, to Mon-\ntefiascone, to Viterbo. Then a rest, then\non to Capranica, and, arriving in Rome\non Friday, November 4th., he enters it by\nthe Vatican gate \" wet to the skin\nowing to a violent shower.\nEvelyn stayed at the house of Mon-\nsieur Petit (at 20 crowns a month), went\nto bed, caused a good fire to be made,\nand so got dry. This house was near the\nPiazza Spagnola, or Piazza di Spagna,\n{shown below)where ' forestieri ' of note\nwere wont to lodge. It was here that\nByron, Keats, de Brosses, and Monte\nCristo.... but I must not mix the real and\nthe fanciful... back to our Evelyn.\nThe next morning he quickly gets\nacquainted with several English, Scotch,\nand Irish men who dwelt in Rome, and\nto whom he had brought letters of re-\ncommendation. To Father John, superior\nof the English college of Douay ; to\nMr. Patrick Cary, brother of Lord Falk-\nland ; to Dr. Bacon and Dr. Gibbs, a\nScotchman; to Father Courtney of the\nJesuit College, and my Lord of Somerset,\nfrom whom he received \" instructions how\nto behave in town \", and all else he\nwished to learn.\nHe engages a cicerone, to take him\nround, and on his second day, Sunday,\nNovember 6th., sees so much (recording\nit all) that to anyone who has been in\nRome it is a wonder how he did it. On\nthe day following he sees his first Thea-\ntre.... the Theatre Marcello :—\" We\n\" went into the Theatre of Marcellus,\n\" which would hold 80,000 persons,\n\" built by Augustus and dedicated to his\n\" nephew; the architecture, from what\n\" remains, appears to be inferior to none.\n\" It is now wholly converted into the\n\" house of the Savelli, one of the old\n\" Roman Families \".\nThat which remained on November 7,\n1644, more or less remains now. The\nPalace built in the Theatre and on it,\nnow belongs to the Orsini family. The\nsame day that Evelyn saw this old clas-\nsic masterpiece he went on to the Pa-\nlazzo Barberini designed by Cavaliero Ber-\nnini, went through it and somehow mis-\nsed seeing the Theatre in the Palace\nbuilt by Bernini in 1634. It must have\nlooked splendid, being then but ten years\nold, and one of the earliest of that shape.\n\nThe Piazza di Spagna, where Evelyn Lodged in Rome:\nfrom Nolli's Plan: 1748. The Steps or Scala di Spagna\nwere added in 1721-25.\n\n(k) For a view of this Teatro Marcello see \" The\nMask M Vol 10, No. 1, page 17."}, {"page_pdf": 30, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.30", "texte": "Still, on Saturday, November 19th., he\nhas this entry when alluding to the Bal-\ndacchino in St. Peter's. 44 It is the work\n\" of Bernini, a Florentine sculptor, archi-\n\" tect, painter, and poet, who, a little\n\" time before my coming to the city, gave\n44 a public opera (for so they call shows\n44 of that kind) (*) wherein he painted the\n\" scenes, cut the statues, invented the en-\n-44 gines, composed the music, writ the co-\n\" medy, and built the theatre as, of\ncourse, anyone will have to do in the fu-\nture who would create a Drama all of a\npiece. Interesting to know it has already\nbeen done in 1644.\nOn Tuesday, November 8, he comes\nacross something very closely related to\nthe Italian theatre, though not actually in\na theatre. \" This evening I was invited\n44 to hear rare music at the Chiesa Nova....\n\" the tapers being lighted, one of the\n4' order preached; after him stepped up\n44 a child of eight or nine years old, who\n44 pronounced an oration with so much\n45 grace that I never was better pleased\n44 than to hear Italian so well and so in-\n-44 telligently spoken. This course it seems\n44 they frequently use, to bring their scho-\n-44 lars to a habit of speaking distinctly\n44 and forming their action and assurance,\n44 which none so much wants as ours in\n44 England. This being finished, began\n44 their Motettos, which, in a lofty cupola,\n44 richly painted, were sung by eunuchs\n44 and other rare voices, accompanied by\n44 theorboas harpischords, and viols, so\n44 that we were even ravished with the\n44 entertainment of the evening \". v)\nWhen in Rome, Evelyn does not\nseem to have noted down anything about\nthe Theatre built in the Vatican by Bra-\nmante in 1514, although it appears he\npassed through it. It looks so untheatrical,\nmaybe that is why, like someone well-\ndressed, it escaped observation.\nHe went further south for a few weeks,\nbut even in Naples does not speak of the\nTeatro dei Fiorintini, which, built in 1618,\nwas renovated in 1707, and so was at\nEvelyn's service more especially since he\nwas there during the Carnival.\nHe returned to Rome on Monday,\nFebruary 13, 1645, and on the 17th.\nis invited, after dinner, to the Academy\nof the Humorists. 44 I was invited after\n44 dinner he writes to the Academy of\n44 the Humorists, kept in a spacious Hall\nbelonging to Signor Paolo Mancini,\n\n(*) See Siena, pag, 104.\n(1) \" Which none so much wants as ours in En-\ngland wrote Evelyn on Nov. 8, 1644. Which none\nso much wants as ours in England, I echo to-day.\nAnd why not get what we so much need, all will surely\nask ? I have written elsewhere of this. I am preparing\na small book about those colleges wherein so many young\nprinces and even those less highly born, were trained to\nact, to speak, to carry themselves, to achieve the assurance\nwhich Evelyn speaks of. These colleges contained thea-\ntres, real theatres. They did not fear the theatre in those\ndays. It would seem they understood some of its values,\none of which is to train young men who will have to take\npart in the play of Public life how to stand, move and\nspeak before a public like Princes.\n(m) About the year 1600, some beaux esprits, who\nassisted at the marriage of Paolo Lucio Mancini, a Roman\ngentleman, exercised their wit, in the course of the eve-\nning, in composing sonnets and epigrammatic verses, on the\nladies who were present. Pleased with this amusement\nMancini, a man of learning and of taste, invited his guests\nto a further exercise of their talents. Regular meetings\nwere now established, and the plan of amusement exten-\nded. Though the hasty ebullitions of wit were not sup-\npressed or discouraged, the members, says Muratori, chiefly\ndevoted themselves to the composition and recital of beau-\ntiful and ingenious (\" vaghe ed ingegnosi \") comedies.\nAt these *' merry meetings \" all the principal nobility and\ngentry of Rome attended. The fame of the academy\nspread, and the associates were universally denominated\n\" i begli umori \". This name was afterwards changed into\nthat of Umoristi or Humorists, on the theatrical exhibitions\ngiving place to the recitations of poetical compositions\non various subjects. The sala, or spacious apartment in\nwhich these meetings were held, still existed in the time\nof Muratori, decorated with the arms of the principal mem-\nbers. Tassoni, a distinguished associate, thus immortalises\nthis academy in the eleventh canto of his Secchio Rapita :\nSped! il corriere a Gaspar Salviani\nDecan de Faccademia de* Mancini.\n\" Historical Memoir of Italian Tragedy \" Joseph\nCooper Walker, (1798). Pages 158-159.\nWhat 44 i begli umori \" means Mr. Walker does\nnot explain."}, {"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.31", "texte": "Figure I. - Journey from Florence to Rome.\n\nFigure 2. - Journey from Milan to Venice.\nTWO MAPS ILLUSTRATIVE OF EVELYNS TRAVELS.\nPlate 14.\n\nTHE MASK\nl Q 2 4"}, {"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.33", "texte": "SCENE FROM AN ENGRAVING BY JACQUES CALLOT\nshowing the first Intermedio during the Callot performance of the “ Liberatione di Tireno ”\nthe Theatre of the Salle delle Commedie, Firenze, 1616. The production was by\nGiulio Parigh with whom Callot was then studying. The central figure of the dancers\nis Cosimo II Grand Duke of Tuscany.\nPlate 15.\n\nTHE MASK\n1924"}, {"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.35", "texte": "\" where the wits of the towns meet on\n\" certain days to recite poems, and de-\n\" bate on several subjects. The first that\nspeaks is called the Lord, and stands in\nan eminent place, and then the rest of\nthe Virtuosi recite in order. By these\ningenious exercises, besides the learned\ndiscourse, is the purity of the Italian\nlanguage daily improved. The room is\nbeing hung round with devices, or em-\nblems, with mottoes under them. There\n\" are several other Academies of this na~\n\" ture, bearing like fantastical titles. In\nthis of the Humorists is the picture of\nGuarini the famous author of the ' Pa-\nstor Fido ' , once of this society. The\nchief part of the day we spent in hearing\nthe academic exercises \". ROME,\nFEBRUARY 17, 1645.\nI should say that actors, living at\nthis time in Italy, who wished to hold\ntheir own with an audience who went in\nfor \" these ingenious exercises \\ and who\ndaily improved the Italian tongue \", must\nhave been rathdr fine speakers, and rather\nexceptional in most other ways. I well\nunderstand, after reading this passage in the\nDiary, how it was that the actress Isa-\nbella Andreini could speak many langua-\nges, write sonnets, invent plays, and pen\nsuch \" letters \" as she published in 1 588\nand 1607 and reprinted four times.... in\n1612, 1617, 1625 and 1634.\nOne turns to Tarleton's Jest Book\n(161 1), and, however funny one may find\nsome of the jokes, it must be confessed they\nlack grace ; possibly owing to the fact\nthat in England those \" ingenious exer-\ncises \" of speech did not daily improve\nour English tongue, and actors had there-\nfore less to keep them conscious of a\nfine standard in the way of speech and\ncarriage : who knows ?\nOn Saturday the 28th. of February,\nEvelyn goes out into the street to see what\na Roman Carnival is like. \"We were\n\" taken up next morning in seeing the\n\" impertinences of the Carnival, when all\n\" the world are as mad at Rome as at\nother places ; but the most remarkable\n\" were the three races of the Barbary\n\" horses, that run in the Strada dell Corso\n\" without riders, only having spurs so\n\" placed on the backs, and hanging down\n\" by their sides, as by their motion to\n\" stimulate them ; then of mares, then of\n\" asses, of buffaloes, naked men, old and\nyoung, and boys, and abundance of\nidle ridiculous pastime. One thing is\n\" remarkable, their acting comedies on a\n\" stage placed on a cart or plaustrum,\nwhere the scene or tiring-place, is made\nof boughs in a rural manner, which\n\" they drive from street to street with a\n\" yoke or two of oxen, after the ancient\n\" guise. The streets swarm with prosti-\ntutes, buffoons, and all manner of rab-\n\" ble ROME, FEBRUARY 28, 1645.\nAdemollo has a word to say on this\npassage in the Diary (n)\n\n(n) Passing over ihe whole of the sixteenth century,\nwe find another experiment, also in the open air, at the\nbeginning of the following century. In fact, while Riario's\nmusic, sung in the open air or in an enclosed place, had a\nscenic setting, this second one has for theatre a car which\nmoves from one piazza to another. The invention is due\nto Pietro Delia Valle, a celebrated traveller, artist and\nman of learning, and perhaps also the author of the poem,\nwho in his well known letter of the 16th January 1640\nto Lelio Guidiccioni speaks in the following terms of the\nmusical composition, the work of Paolo Quagliati, and of\nthe performance given of it in the Carnival of 1606;\n\" And in regard to the music of my Car composed\nby Quagliati for the most part in my room, according as\nhe saw it pleased me, with which I went out in mask in\nthe Carnival of the year 1606. And it was one of the\nfirst actions (so to speak) performed in music to be heard\nin Rome. Although there did not take part more than five\nvoices and five instruments, just so many as, in a moving\nchoir, could have place, they did not for this reason sing\nonly one at a time, but the personages sang now alone, now\ntwo together, now three, and, at the end, five, which pro-\nduced a very fine effect; and the music of that song, as\nmay be seen in the printed volumes in circulation, although\nthe greater part was composed in such manner as to be\nrepresented, was not altogether of that simple and over-\ntrivial recitative style which many use, and which soon\nbecomes tiresome to the audience; but was adorned and"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.36", "texte": "What comedies were acted, and whe-\nther by professional actors or young col-\nlege students, whether it was a genuine\nsurvival of the ancient mode, or a \" re-\nvival \" like the Elizabethan Society or\nlike some \" League of True Art \", or\nwhether merely a group of masqueraders\npretending to be acting comedies, seems\nvery uncertain.\nOn May-day he goes to his first play\nsince his arrival in Italy, and curiously\nenough it is an English play. \"We were\nentertained at night with an English\nplay at the Jesuits where we before had\ndined \". The next evening he is at Prince\nGalicano's palace. There he witnesses his\nfirst Italian opera. The name he does not\ngive, but it was \" Proserpina Rapita\". Prince\nGalicano composed the music and there\nwere present Cardinal Pamphilio, the\nPope's nephew, the Governors of Rome,\nGirolamo Lomellino of Rome, the Car-\ndinal's ambassadors, ladies, and a num-\nber of nobility and strangers \". One\nof the ambassadors is De Valengoy. Eve-\nlyn calls it \"a magnificent opera \" and\nthere an end.\nThere was also a Barriera that day.\nThere had been in the morning a joust\nand tournament of several young gent-\nlemen on a formal defy, to which we\nhad been invited ; the arizes being di-\nstributed by the ladies, after the knight-\nerrantry way. The lancers and swords-\nmen running at tilt against the barriers,\nwith a great deal of clatter, but without\nany bloodshed, giving much diversion to\nthe spectators, and was new to us tra-\n\" vellers \".\nAnd this well describes the playful-\nness of a Barriera, performed, it seems,\nas often as not, in the great room of the\nPalace. The design by Sacchi (Plate 12)\ngives us the appearance of a Barriera in\nthe open air, but whether indoors or out\ndoors it was ever a formal ceremony where\nthe arts of war were made amusing. Callot\nhas engraved at least one such indoors\nbarriera.\n\" A magnificent opera ' ', was all\nEvelyn wrote of the evening performance,\nand we may add a magnificent audience.\nThis opera was performed in the private\ntheatre of Prince Galicano ; it was not a\n12-foot stage with a proscenium, and\nsome footlights hired from the theatrical\noutfitter in Rome (if such a farce of a\nbusiness existed in those days) ; it was a\nspecially constructed \" teatro \" like that\nin Parma in the Palazzo Farnese (1619) ;\nor like those in the court at Torino\n(1638); or in the Palazzo Barberini\nin Rome (1634) ; or in the Palazzo\nDucale in Milano (1598); or like those\nin Ferrara (1606-1612). As large as\nthe largest in Parma, it probably was not;\nnor so small as the Teatro in the Collegio\nRomano. Still \" a magnificent opera\nmeans from Evelyn something, a great\ndeal more than private theatricals. The\nTheatres built for Princes in the first half\nof the 17th. century were generally in\ntheir palaces, not added on to them at\none side as after-thought, and were finely\ndeveloped pieces of work. There was\nno longer anything haphazard about them,\n\nfull of grace with charm, without departing at all from an\nelevated and studied manner of representation, so that it\npleased extremely; and this could be well seen by the\nconcourse of almost the whole city which followed it; and\nit not only never wearied the hearers, but many of them\nwished to hear it four or six times, and there were some\nwho followed it always to all the ten or twelve places\nwhere the singing went on from twenty-four o'clock (J)\nuntil after midnight.\nIt is known that the use of these theatrical cars con-\ntinued in Rome. The Englishman John Evelyn, who was\nhere in 1645, that is forty years after the car of Pietro\nDelia Valle, tells in his Memoirs of having seen them, and\ndescribes them: 44 On the car or plaustrum the scene is\nformed by branches rustically disposed* and these ambulant\ntheatres go about the streets drawn by two or four oxen.\"\nA. Ademollo. \" I Teatri di Roma\nnel Secolo Decimosettimo, pp. 2-4.\n(l) Probably sunset."}, {"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.37", "texte": "nothing at all in the nature of makeshift.\nAlready in 1545, Serlio had brought out\nhis second volume of Architecture in which\nhe had clearly stated in words, and shown\nby diagrams, how a theatre should be\nbuilt, how a stage was to be constructed,\nand how the matter of scenes and lighting\ncould be dealt with. In 1614, Chiara-\nmonte had written his book, to be pub-\nlished in 1675. <°)\nAnd thus when F. Carini Motta comes\nout with his treatise on theatre building\nin 1676, thirty years before Evelyn's\ndeath, the whole question has been prac-\ntically solved.\nI give a plan of a Court Theatre as\nconceived by Motta (Plate 13).\nSo we must remember that the Thea-\ntres that Evelyn saw in 1644-46 were\nno early improvised attempts to make the\nbest of a bad job, such as the French\nand English architects were making at that\ntime, but buildings intended for a serious\nand definite purpose; and that purpose\nthe housing of Drama (both prose and\nlyric) in the very best possible way, ar-\nrived at without haste, without delays,\nwithout thought of cost: and without the\nopposition of that intolerable Puritanism\nwhich considers that all things, even faces,\nare best when plain.\nBefore leaving Rome, Evelyn circles\nround it like a bird ere it swings away\nto its destination. He calls at the great\nhouse built for Cardinal Scipio Borghese\nat Mondragone (Plate 1 1 fig. 1). \"We went\n\" hence to another house and garden not\n\" far distant, on the side of a hill called\n\" Mondragone, finished by Cardinal Sci-\n\" pio Borghese, an ample and kingly edi-\n\" fice. It kas a very long gallery, and at\nthe end a theatre for pastimes, spacious\ncourts, rare grots, vineyards, olive-\ngrounds, groves and solitudes \". TIVOLI,\nFRIDAY MAY 5, 1645.\nThen at Tivoli in the Villa D'Este\nhe notes that most theatrical model \" of\nRome as it was in its beauty, of small\nmodels, representing that city, with its\n\" amphitheatres, naumachia, thermae, tem-\n\" pies, etc. \".\nThursday, May 18, 1645, Evelyn\nleaves Rome. He goes through Capra-\nrola, dines there, and gets to Monti Rossi,\n20 miles from Rome \", by night; next\nday is at Viterbo, dines there, and on to\nSt. Laurenzo; next day, Saturday the\n20th. at Radicofani and on to Turnera.\nOn Sunday, the 21st., he is in Siena,\nwhere he dines ; then on to Pisa ; back\nto Leghorn, where he is obliged to go\nfor some money for the rest of the jour-\nney. Then on to Lucca, where he stops\nto note that \".... the inhabitants are excee-\ndingly civil to strangers, above all places\nin Italy, and they speak the purest Ita-\nlian \". LUCCA. MAY 21st., 1645.\nAnd this every visitor to Lucca must\nhave discovered for himself. Even the\nPresident Dupaty in 1785 seems to have\ncome under the charm of these people.\nIn Lucca he does not linger to note\nanything about the theatre, although he\ncould have heard a musical Drama at the\nPalla Corda in the Palazzo dei Borghi.\nNor does he stop for entertainment at\nany of the cities between Lucca and Venice.\nIt is to Venice he hastens, and so we do\nnot hear what he thought of the Teatro\nGustavillani, built by Seghizzi in 1640,\na theatre with a new idea in it, an idea\nto be later adopted by the Bibiena family\n\n(o) Furtenbach in 1628 and Sabbattini in 1637\nbring out books on this subject. Although Furtenbach is\nthe earlier of the two, he is, I think, merely repeating\nwhat is known in Italy for some years. I think Sabbattini\nis probably more important.\n(p) \" Farewell, Lucca 1 Adieu to M. R..., and\nadieu to Liberty ! but farewell chiefly to thee, Theresa\nM....; for it is only thee Theresa M. that one quits, in\ndeparting from Lucca! \" Sentimental Letters on Italy.\nDupaty. Trans. 1789. London."}, {"page_pdf": 38, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.38", "texte": "in the theatres in Verona and Mantua,\nand in the Falconi Theatre in Genoa, by\nsome Architect at present unknown.\nStill Evelyn does make one note on his\nway to Venice. It is while stopping for\na moment or two in Florence, that he\nrecords the existence of the Ducal Thea-\ntre in the Palace which is now the Uf-\nfizi Gallery fa). \" Then, passing the Old\nPalace, which has a very great hall for\nfeasts and comedies, the roof rarely pain-\nted, and the side walls with six very\nlarge pictures representing battles, the\nworks of Gio. Vassari \". W\nThe best engraving to be found, show-\ning this theatre, is the design by Jacques\nCallot (Plate 15).\nNow Evelyn quickens his pace. Off\nto Scarperia, up and over the Appenines,\ndown to Fiorenzuola, that tiny little plea-\nsant town in the form of a cross; through\nPianura, Scaragalismo, Loiano, and, after a\nrest at Bologna, on to Ferrara, to Corbua by\nboat, past Chioza and Palestina and Ma-\nlamocca, and at last he is in Venice,\nwhere I am too, as I write this.\nThe journey from Rome to Venice \",\nsays he, \" cost me seven pistoles and\nthirteen julios \". What a fine man this\nEvelyn is : would I were wealthy enough\nto stop to reckon what my trip has cost.\nIt is June when Evelyn arrives in this\nlovely place. This is no city, it is no ordina-\nry thing related to anything else upon earth.\nIt is just another world where this\nworld seems not to have intruded, except\nwhen Bonaparte came and fell with all\nthe grace with which even a conqueror\ncould fall ; leaving the place as it was,\nunchanged, unaltered, so mysteriously po-\nwerful is its spirit.\nI was looking to-day for some small\nrecognition of Bonaparte's visit. I sup-\npose I have not looked long enough.\nI imagine I shall find some little Venetian\nstatue raised to him in one of the little\nside streets ; and some acknowledgement of\nhis refraining from doing what every con-\nqueror does elsewhere, stripping the place,\nburning, pillaging, ruining its beauty (s).\nAbout the sixth day after his arrival\nin Venice, Evelyn is taken to a theatre,\nthe Teatro Novissimo (0, and which, since\nit was built in 1641, was then but four\nyears old, and therefore in superb condition.\nIt was demolished in 1647, so it was\nalways ' Novissimo\nThe opera \" Ercole in Lidia \" by\nConte M. Bisaccioni and Giov. Rovetta\nis being performed, and Evelyn goes with\nLord Bruce, first Earl of Elgin.\nThe details of this evening's entertain-\nment are given in the Diary, and seem\nto have been enjoyable. \" This night,\nhaving with my Lord Bruce fa) taken our\n\n(q) The Ducal Teatro was built in 1 583 by the architect\nB. Buontalenti, and is sometimes called Teatro de* Me-\ndici. One year later the more academic theatre at Vicenza\nis built by Palladio. Compare the two designs, figs. 1 & 2\nPlate 16. Palladio thinks too long about it all and\narrives at less than Buontalenti achieves; and look how\nmuch Callot adds to the whole movement towards theatre\nconstruction. By this one etching, I find Callot does more\nto bring about the modern horse-shoe form than anyone else.\nHow valuable is a little touch of inspiration ! and here comes\nCallot into the Medician theatre in 1616, and, seeing that\nthe people curve the floor to make room for the performers,\nhe emphasises this fine curve, and fixes it once and for all\nin a lovely etching with such a way about it that everyone\nbuys a copy. It is in 1616, and slowly it enters the\nbrains of the architects that exactly this curve is pretty\nfine; and for good or ill they follow the lines of the\netching in their future ground plans, the first being 1627\nin Bologna so far as I have been able to trace the thing,\nand the second—in Rome—at the Tordinona Theatre in\n1671—Specchi the architect.\n(r) J found none while I was there ; but I find it exis-\nted, or exists some where, recorded in the History of Italy.\n(s) I am reminded that he carried off a gold horse\nor two: but compare Ypres for what he might have\ndone : or Paris itself in 1871-2.\n(t) Galvani tells us that we must not confound this\nTeatro Novissimo with another theatre of the same name built\nentirely of wood. This one which Evelyn went to was also\nknown as the Teatro della Cavallerizza ; Tassini says it\nwas built in 1640.\n(u) It was another Lord Bruce who in 1827 collected\nfor Ebers of the King's Theatre a number of dancers in\nParis for the London Ballet; so the Bruces seem to have\nbeen fond of theatricals."}, {"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.39", "texte": "Figure I. - Elevation and Section, showing the Stage stope, and \" Soffitto \" or Ceiling.\n\nFigure 2. - Ground Plan, showing the seven Streets.\nTHE TEATRO O LIMP ICO, VICENZA ; BUILT BY PALLADIO, 1584■\nPlate 16.\n\nTHE MASK\nI. 9 2 4"}, {"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.41", "texte": "THE MASK\n1924.\n\nPlate 17."}, {"page_pdf": 43, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.43", "texte": "\" places before, we went to the Opera,\n\" where comedies and other plays are\n\" represented in recitative music, by most\n\" excellent musicians, vocal and instru-\n\" mental, with variety of scenes painted\n\" and contrived with no less art of per-\n'' spective, and machines for flying in the\n\" air, and other wonderful motions ; ta-\n\" ken together, it is one of the most mag-\n\" nificent and expensive diversions the\n\" wit of man can invent. The history\n\" was ' Hercules in Lydia the scenes\n\" changed thirteen times. The famous\n\" voices, Anna Rencia, a Roman, and\nreputed the best treble of women ;\n\" but there was an eunuch who, in my\n\" opinion, surpassed her ; also a Genoese\n\" that sang an incomparable bass. This\n\" held us by the eyes and ears until two\nin the morning, when we went to the\nGhetto de san Felice, to see the no-\nblemen and their ladies at basset, a\n\" game at cards which is much used ;\n\" but they play not in public, and all\n\" that have an inclination to do it are in\n\" masquerade, without speaking one word,\n\" and so they come in, play, lose or\ngain, and go away as they please.\n\" This time of licence is only in Carnival\nand this Ascension Week ; neither are\n\" their theatres open for that other mag-\n\" nificence, or for ordinary comedians,\n\" save on these solemnities, they being a\n\" frugal and wise people, and exact ob-\n\" servers of all sumptuary laws'*. VENICE, ( )\nMAY-JUNE 1645.\nSo much for Venice in 1645. Ve-\nnice in April, 1922 is, in such matters,\nrather different. On the walls are big\nplacards announcing the great attraction at\nsome vast cinema hall: \"Le Tre Illus-\nsioni: Illusione dell'oro, Illlusione dell'amore,\nIllusione della felicita\nConceive the astonishment of any 1 7 th.\ncentury gentleman on coming to this city\nof realized dreams, at being met with\nsuch a piece of sceptical audacity, such\nawful fibs. For with all due respect to\nthe value of shadows, it is the light which\ncreates them, and gold, love, and hap-\npiness are no illusions. The only illusion\nis the ass who finds them so. This or-\ndinary piece of knowledge was familiar\nto the Venetians in 1645, and why mo-\ndern Venetians should have found it amu-\nsing or necessary to spoil their city by\nbecoming sceptical like those who live in\nthe north east of Europe I cannot say.\nThe liars who make money in this way\n(the cinema merchants are liars when they\nplacard the towns with this rubbish) would\nin 1645 have been called before the\nCouncil of Ten and quietly removed in a\nsack as dangerous to the Republic. Why\nnot to-day ? Why should we see no\ndanger in such fearful cynicism doled out\nto a credulous public, which is made to\npay and suffer for such wretched lies ?\nWe do \", you say. Then why tole-\nrate it ? \"It pays us \", you answer.\nThen Buona Notte \".\n\" The scenes changed thirteen times \",\nsays Evelyn, and \" this opera held us\nby the eyes and ears till two in the mor-\nning \". Meantime in England, the Pro-\ntector Cromwell was preventing our stage\nfrom developing, while building ships with\nportraits of himself in wood at the prow,\nand a Fame holding the laurel wreath\nover his insulting head ; with the words\n\" God with Us \". \" Gott mit Uns \",\nthen, is not so new after all, nor so German.\n\n(*) It is Evelyn who writes 41 Venice \" instead of\nVenezia, and 44 Padua 44 Rome \" and 44 Florence \" in-\nstead of 44 Padova 44 Roma \" and 44 Firenze so in this\nessay we have followed the Englishman's spelling so as to\nsave confusion. Ed.\n(v) Since I wrote this, Signor Mussolini has come\ninto power, He may probably turn his attention, in good\ntime, to the lies of the cinema.\n(w) Evelyn Diary, April 9, 1655."}, {"page_pdf": 44, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.44", "texte": "He goes to Padua for a brief visit,\nand one day, \" After dinner we walked\nto the Palace of Foscari all' Arena, there\n\" remaining yet some appearances of an\nancient theatre, though serving now for\n\" a court only before the house PADUA\n1645.\nHe now plies to and fro between Ve-\nnice and Padua. In Padua, he could have\nseen the Teatro delle Stallone, the only\ntheatre of the place built in 1642. He\nwas thfre long enough, but it is quite\nlikely that, during his visit, nothing was\nbeing performed. I can find no records\nof any performances at that Teatro be-\ntween 1642, and about 1651. The\noutside of the Theatre can be very cleaily\nseen in an engraving by Canaletto of Lo\nStallone del Prato della Valle.\nJanuary 20, 1646, is a Saturday, and\nSignor Francesco da Molin is elected\ndoge of Venice, and at Shrovetide Evelyn\nslips over to Venice and witnesses three\nmore operas and other things, and once\nmore hears his enchanting Anna Rencia\nsing, and what is more, in true 1880\nstyle, asks her out to supper. One al-\nmost sees an eyeglass, a top hat, and\nthe Gaiety Stage-Door.\nHere is Evelyn's entry. \".... The great\nbanks are set up for those who will\nplay at basset ; the comedians have\nliberty, and the operas are open ; witty\n\" pasquils are thrown about, and the\nmountebanks W have their stages at\nevery corner. The diversions which chiefly\ntook me up was three noble operas, (y)\nwhere were excellent voices and music,\n\" the most celebrated of which was the\nfamous Anna Rencia O, whom we invited\n\" to a fish-dinner after four days in Lent,\n\" when they had given over at the theatre.\nAccompanied with an eunuch whom she\nbrought with her, she entertained us with\nrare music, both of them singing to a har-\n\" pischord. It growing late, a gentleman\nof Venice came for her, to show her\nthe galleys, now ready to sail for Can-\ndia. This entertainment produced a se-\n\" cond, given us by the English consul\nof the merchants, inviting us to his\n\" house, where he had the Genoese, (xx)\nthe most celebrated bass in Italy, who\n\"was one of the late opera-band. This\n\" diversion held us so late at night, that,\nconveying a gentlewoman who had sup-\nped with us to her gondola at the usual\n\" place of landing, we were shot at by\ntwo carbines from another gondola, in\n\" which were a noble Venetian and his\ncourtezan unwilling to be disturbed,\n\" which made us run in and fetch other\nweapons, not knowing what the matter\nwas, till we were informed of the dan-\n\" ger we might incur by pursuing it far-\n\" ther PADUA. SHROVETIDE 1646.\nHe leaves for Padua, after one last\nglimpse of Venice, and then he makes\nfor home, going slowly through Vicenza,\nVerona and Brescia; avoiding Parma,\nPiacenza, Mantua, and that whole route\nfrom a fear of banditti, (for, even in\n1 646, ' every day, people say, there's\na robbery in the park \"), making for Mi-\nlan in a roundabout way.\nAnd these banditti had no right to\nrob us of the records Evelyn would have\n\n(x) Coryat gives a fuller account of these mounte-\nbanks.\n(y) Evelyn does not give the name of these three\nnoble operas, but we know from Dr. Antonio Groppo's\nlist of Venetian performances exactly which theatres were\nopen in 1645 and 1646, and what was being performed\nin each. The theatres which are open in 1645 are the\nTeatro San Cassiano, Teatro SS. Giovanni e Paolo, and\nthe Teatro Novissimo. The theatres which are open in 1646\nare the Teatro SS. Giovanni e Paolo, and the Teatro No-\nvissimo.\n(z) A writer in \" Notes and Queries (1922) tells us\nthat four years later, (1650) Anna Rencia married Ales-\nsandro Leardini, d'Urbino \". Leardini was part composer\nof Rovetta's opera. \" Argiope \" produced 1649 at Teatro\nS. Giovanni e Paolo, Venice,\n(xx) This Genoese I have, so far, been unable to trace."}, {"page_pdf": 45, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.45", "texte": "left us of the Teatro Farnese in Parma,\nand the Teatro di Corte in Mantua.\nStill, at Vicenza he halts to tell us about\nthe Teatro Olympico (Plate 1 6 figs. 1 &2).\nBut what he tells us is, alas, not quite as\nexact as usual. He is there on, or about,\nTuesday, March 27th. \"The next mor-\n\" ning, we visited the theatre, as being of\nthat kind the most perfect now standing,\n\" and built by Palladio, in exact imita-\ntion of the ancient Romans, and capa-\nble of containing 5,000 spectators. The\nscene, which is all of stone, represents\nan imperial city, the order Corinthian,\ndecorated with statues. Over the Sce-\n\" nario is inscribed, Virtuti Genio\nOlympior: Academia Theatrum hoc a\n\" fundamentis erexit Paladio Architect:\n\" 1584. The scene declines eleven\nfeet the soffito painted with clouds.\n\"To this there joins a spacious hall for\n\" solemn days to ballott in, and a se-\ncond for the Academics \".\nEvelyn errs about this theatre built\nby Palladio because, though he is giving\nmore time to Italy than Coryat gave, he\nis not giving quite enough time, nor paying\nquite enough attention to Vicenza. In\nthis, he is courteous to me, for if he had\nmade no mistakes, how could I show off\nmy scrap of wisdom ?\nHe notes with precision little facts\nabout the basset playing, for he has given\ntime to it ; and he is correct about Miss\nRencia (except for the way he spells her\nname) for he had paid her attention ; but,\nof the Teatro Olympico, he is incorrect\nin saying that it is \" an exact imitation\nof the ancient Romans \", and that it can\ncontain \" 5,000 spectators \", and that\nthe scene is \" all of stone \".\nIt is an imitation of nothing, and al-\nthough the works of Vitruvio have been\nwell studied by Palladio, the Italian has\nmade his theatre indoors, more than half\nof it with wood and stucco, and has\nsomehow or other managed to avoid all\nthe essentials and most of the details of a\ngood Roman theatre. The gradinata, or\nflight of steps on which the spectators sit,\nis taken from Serlio and others of that\ntime, who experimented in theatre buil-\nding. The idea of separate chairs for\neach spectator, and boxed-in places for\ngroups of four to eight, had not occur-\nred to anyone ; and in this, just so far\nand no further, is Palladio Roman. That\nhe uses arches, pillars and statues to adorn\nhis auditorium and stage, is no more Ro-\nman than Italian or Greek. What I\nwould insist on is that Palladio did not\nset out to build a Roman theatre, but a\nPalladian theatre. Doubtless he spoke and\nwrote much of Vitruvio, but his whole\naim was to create afresh, as freshly as\nwas possible for him ; and he was sur-\nrounded by a large group of academi-\ncians obviously obsessed by the ancients\nand their fine, but even then, dusty way\nof doing things, doubtless forgetful of the\npleasant trees and brooks, of Vicenza, and\nobsequious to the pushful princes of the\nyear 1560. So the pedants as usual have\nruined another good thing. As for 5,000\npersons being able to sit and stand to see\nthe play, we can place the number at\n3,000.... and we shall still be on the\nside of those who want to prove it a lar-\nger theatre than it i 5.... certainly larger\nthan it looks.\nThe space it occupies is quite small,\nand the way in which the architect has\nused every inch of his space is very re-\nmarkable.\nThe scene is principally of wood,\nbrick and stucco: very little stone is used.\nOn the stage, we find stone up to the\nlevel of our hip, but this only in the\n\n(yy) Ihe stage slope, the perspective, the Soffitto or\nceiling, can be seen in Plate 16, fig. 1."}, {"page_pdf": 46, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.46", "texte": "proscenium. The seven streets shown in\nthe plan (Plate 16, fig. 2) are of wood\nand stucco. I speak after examining them.\nPatte, in 1830, writes in his \" Storia\ne Descrizione \" that \" questo edificio non\ne construtto alia leggiera, ma in pietra\nbella\"; and Milizia, 1768, Filippi, 1860,\nand Signorelli, 1813, indeed, most writers,\nseem for some unknown reason to be\nagreed that the scene is of stone or mar-\nble. This is all the more curious since\nMontenari, the best authority, had stated,\nin 1749, that \" questa gradini nel Tea-\ntro Olympico non sono di pietra.... ma\nson di legname.... le scene del nostra\nT eatro sono scene stabili disegnate in\nlegno e rilevate, e a vari colori di-\npinte \". (zz)\nEvelyn then goes to Verona where\n\" The first thing that engaged our atten-\n\" tion and wonder, too, was the amphithea-\n\" tre, which is the most entire of ancient\n\" remains now extant. The inhabitants call\n\"it the Arena : it has two porticos, one\nwithin the other, and is thirty four rods\nlong, twenty-two in breadth, with forty-\ntwo ranks of stone benches, or seats,\n\" which reach to the top. The vast-\nness of the marble stones is stupendous.\nL. V. Flaminius, Consul., anno. urb.\ncon. LIII. This I esteem to be one of\n\" the noblest antiquities in Europe, it is so\nvast and entire, having escaped the ruin\n\"of so many other public buildings for\nover 1400 years\nAnd now, in May, he comes to Mi-\nlan, which he speaks of as \"a sweet\nplace \" and which at this time contained\n40,000 inhabitants. Here he sees an\nopera. \" This afternoon \", he writes,\n\" we were wholly taken up in seeing an\n\" opera represented by some Neapolitans,\nperformed all in excellent music with rare\n\" scenes, in which there acted a celebrated\n\" beauty \".\nNow what was this opera, where\nperformed, and who the beauty ? Of the\nplace, all 1 have been able to discover is\nthat at this time there were only three\n\nANFITEATRO DI VERONA.\nFrom an Etching by G. B. Piranesi. 1720-1778.\n\n(zz) Translated: \" These step-seats (gradini) of the\nTeatro Olimpico are not of stone.... but are of w00d...,\nthe stage of our Teatro is a fixed scene ... designed in\nwood and relief (in plaster) and painted in various co-\nlours\nEvelyn has even got the inscription over the \" Sce-\nnario \" (as he calls it) wrong: the exact one being;\nVIRTUTI, AC GENIO OLYMPICORUM ACADEMIA\nTEATRUM HOC A FUNDAMENTIS EREXIT ANNO\nMDLXXXIIII PALLADIO ARCHIT. (II Forestiere istruito etc.\nO. B. Scamozzi, 1761)."}, {"page_pdf": 47, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.47", "texte": "theatres. One was in the Ducal Palace,\nand one in the house of Messer Angelo\nLucchese in Via Rastelli and one in a\nhouse \" degli Incarnatini \" near Porta\nTosa. It is the actor Francesco Andreini\nwho, in 1624, refers to this last theatre\nin his \" Bravure del Capitano Spaventa \",\n(Venice).\nA plan of Milano (circa 1740), of\nwhich plate 1 7 shows the central part of\nthe city, marks clearly in the Ducal Palace\ntwo theatres; one for opera, that in Via\nRastelli, the famous and well-known buil-\nding of which some few rare engravings\nexist ; the other, a smaller building at the\nother corner of the Palace and near the\nDuomo. According to Brozzi there was\nalso a smaller court theatre (so they say)\nfor plays in Via delle Ore, but I can find\nno visual proof of the existence of this small\ntheatre. The first court theatre (whichever\none of these two it was), was built in 1598;\nI believe it to have been the smaller of the\ntwo. (Was this smaller built before\nthe larger one ?) It was about sixty braccias\nin length and about sixteen to twenty\nbraccias wide. In 1 740 it was considered\nuseless, but it still stood and was even in\nplace in 1763. All the historians seem\nto have overlooked this theatre.\nTo discover who was \" the celebra-\nted beauty \", we must enquire as to what\nactress-singer was then living. Isabella\nAndreini of the \" Fideli \" company died in\n1604 , so it could not have been she.\nIn May, 1605, the company of the\n\" Uniti \" seem to have received permis-\nsion from Don Juan Fernandez de Vela-\nsco Condestable of Castaglia to perform\nin Milan. In May, 1646, a like per-\nmission was granted to some company by\nthe same Condestable.\nIn 1646, on Monday the 30th. of\nApril, their actor Buffeto, and the actress\nDiana were in the state of Milan, passing\nwith their baggage and four or five per-\nsons with them, through to Paris.\nWas Diana the \" celebrated beauty \"\nLet him who has any beauty to spare\nwaste twenty years hunting for what is\nabsolutely of no importance. 1 hear Evelyn\ncalling, he is off, he is bidding\nfarewell to Italy.\nHe is obliged to leave Milan rather\nhurriedly, owing to an incident which he\ndescribes admirably, but which, as it has\nnothing to do with the Theatre, I will\nnot linger behind to retell. He is off.\nI catch him up at Castellanza and we\ngo sorrowfully out of this pleasant land,\nstopping but a moment or two at Arona,\nIsola Bella and Margazza ; where poor\nEvelyn, unable to get a horse, is obliged\nto straddle an ass, which he bridles with\na valuable \" Turkish bridle woven with\nsilk and curiously embossed with other\nsilk trappings \"—a present from a gentle-\nman, a great horseman, in Milan.\nThus mounted, he leaves Italy forever.\nBut as you will see when he reaches\nParis and London, and is obliged to listen\nto singing and to look at acting in these\nplaces, he is always well-nigh silent.... It\nwas so beautiful in Rome, and in Venice\nmore beautiful still: the fine Italian speech\nat the Umoristi in Roma.... the noble opera\nin Venezia.... the voice of Anna Rencia....\nhe seems to be thinking of all these as\nhe goes upward out of Italy into the\nmountains on the caparisoned ass.\nTo be continued"}, {"page_pdf": 48, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.48", "texte": "A PROPOSAL\nBY WILLIAM MARCHPANE.\nI was standing under the immense portico of\nthe Teatro Carlo Felice (a) in Genova, held\nup by its great marble pillars from Carrara.\nWhat is it that is so good about this,...\nwhat is this sense of space and loftiness worth?\nto me something I will not attempt to explain\nbecause already sufficiently explained by great\npoets for some several hundred years. But to\nothers ? To a hundred, say even three hundred\nwho will be passing under this portico between\nthis evening and tomorrow midday and it is\na public way this sense of the lofty lines and\nthe space within the lines may count; ....to no\nmore. And certainly not to those three gen-\ntlemen who are now passing me. Three mer-\nchants,... an automobile manufacturer, a tyre-\nmaker, and a cloth merchant.\nThree able men with every excellent quality\nand quite without a scrap of imagination. Men\nwho are useful, ....and there an end.\nBorn to be employed, to be told what to\ndo and to carry out a difficult order admirably,\nthey have by some odd trick of chance come to\nbe giving the orders and others put to the execution\nof 'em. And these three big able fellows receive\nnot the least impression as they pass along under\nthis portico, between these mighty pillars.\nWhen it comes to them deciding upon the\nbuilding of the new Theatre next year ....or\nwhenever the hour arrives.... they will have no\nthought of pillars with them; and if the architect\nemployed (and a mild one will be set on to\nthat work, no architect of power and value\n\n(a) On Page 45, col. 1. V 01.9 of \"\nshowing this The aire and its pillars."}, {"page_pdf": 49, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.49", "texte": "being known to them or they to him), ....if\nthis mild architect should dream* of suggesting\nsome big pillars, these will be cut out\nNo money for pillars; no space for pillars; no\nsense in pillars.\nBut no sense for pillars would be more\ncorrect.\nNow it seemed to me as I stood there that,\nif only a sound commercial reason could be\nfound for the use of pillars once more, the ar-\nchitecture could be saved.\nI went nearer to one of the pillars. And\nit seemed to me, as I looked at it, that I had\nfound the right use and away to convince\none of the three merchants that it would pay\nhim and Well —to insist on pillars.\nFor who but a rich merchant would pay\nfor such useless things as pillars ?\nBut a rich merchant is no tool. He would\nwant to see money in the pillars. I would\nshow him money and more. —As he is a\nhuman being I would show that these pillars,\nbesides paying him all the year round, would\npay his sons and his sons' sons, provided they\ncept at the business.\nHe would have to be a motor tyre manu-\nfacturer.\nAnd this is what I should say as I led him\nup to a full-sized model of the pillars to be:\nI would say, 51 See there, close to your\nboots 11; he would look down 11 a pneu-\nmatic tyre lying down and a fluted column\nstanding on it. I intend to engrave the words\nBRIGHT'S UN-SLIP-ABLE TYRES around this bul-\nging bit, -....the architects call it by the silly\nname of Torus.\nOn the fluted column would be added year\nby year a mark cut in the marble. \"Up\nhere indicating where his knee came would\n\nGOETHE WRITES\nTO SCHILLER.\n(AUGUST 17. 1797).\n\nYESTERDAY I was present at a\nrepresentation of the opera Pal-\nmira, which, taken as a whole, was\nvery well and properly given.\nWhat especially pleased me was that\nI had a good opportunity of examining\none part of it most thoroughly, namely,\nthe scenery ; it is the work of a Mila-\nnese, Fuentes by name, who is at\npresent living here.\nThe great difficulty as regards scenic\narchitecture is that one must have a\nknowledge of the principles of genuine\narchitecture and yet be able to deviate\nfrom them in order to attain the end\nin view.\nArchitecture, in the higher sense,\nought to have an earnest, lofty, and\nsteadfast character and expression—it\ncan scarcely attend to what is graceful\nwithout becoming weak—and yet upon\nthe stage everything has to present a\ngraceful appearance. Theatrical archi-\ntecture should be light, ornamental, and\nvaried, and yet should at the same time\nrepresent the gorgeous, the lofty, and\nthe noble. The decorations, especially\nof the background, ought in fact to be\ntableaux ; the scene-painter has to go\na step further than the landscape-pain-\nter, who must also understand how to\nmodify architecture according to his\nrequirements,\nThe scenic decorations to Palmira\nfurnish instances from which the rules\nof scene painting might be deduced ;\nthere are six scenes which follow one\nanother in two acts without any single\none being repeated ; they are designed\nwith judicious variety and gradation.\nOne sees from them that the artist\nis acquainted with all the resources\nof genuine architecture, even when he\nbuilds as never would or should be\nbuilt ; everything retains the semblance\nof possibility, and all his constructions\nare based upon the idea of what is\ndemanded by reality. His ornamentations\nare very rich, but applied and distri-\nbuted with genuine taste.\nIn the case of the artist in ques-\ntion we have an example of the great\nstucco-school which exists in Milan,\nand of which a knowledge can be got\nfrom the prints of Alberiolli. All\nproportions tend to what is slender, as\ndo likewise all the figures, statues, bas-\nreliefs, and painted lookers-on ; the\nexcessive length and powerful gestures\nof many of the figures are not mere\nmannerism, but have been required to\nbe thus by necessity and taste. The\ncolouring is faultless, and the style or"}, {"page_pdf": 50, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.50", "texte": "ik'.L.ibtaaii'Se ap.V«Se It.\ntrivances, ail the charms of masses ar-\nranged according to tne different points\nof direction. The several parts are\nperfectly distinct and clear without\nbeing hard, and the whole is most\nadmirably consistent. One perceives\nin the endless details the result of the\nstudies of a great school and the\nknowledge which has been acquired\nby several generations of men, and it\nmay doubtless be said that this style of\nArt is here brought to its highest\nSb »d .hatehu'S\nis despaired of 0).\n1 will see that what 1 have here\ngiven as a mere hurried sketch shall\nbe arranged and worked out in a\nbetter manner.\nWHAT penetration Goethe brings\nto this section of the stage work\nhe had undertaken.... even as he did\nto his philosophical and scientific\nstudies.\nHe searches to know a little more,\nand only speaks when he has come\nto know ;—and Schiller actually does\nnot reply \" Yes, my dear Fellow, but\nwhat about the Union of Scene pain-\nters ? M\n(i) This Milanese of whom Goethe\nwrites was Giorgio Fuentes or Foentes,\nwho from 1794 to 1796 was working for\nLa Scala in Milano. In 1805 and 1815\nhe was still in Milano and seems to have\nhe en alive in 1827. Considering that\nFrankfurt was led to despair of his life,\nhe managed to put up something of a\nfight for thirty more years ; but in Italy ;\nin no colder place.\nI almost see and hear Fuentes and\nGoethe talking in Frankfurt. li Come\nto Weimar \" says the eagle in his impe-\nrial way, \"you shall paint scenes forme\nin my Theatre there\n41 Winter scenes $ \" asks the rondine.\ndevotee of the stimmer and the sun.\nGoethe, believing, in his immense inno-\ncence, that a painter will freeze for the\nsake of canvasses in white and grey, re-\nplies, 44 Scenes frosty and sublime \".\ni( Caro Signor Goethe, how willingly\nwould 1 come to Weimar, ...for I would,\nif the Gods allowed it, paint scenes for\nyour divine masterpieces and none other.\nBut it may not be. I am, alas, near unto\ndeath's door: I date no longer Ibiger:\nI return to see Milano once more and to\ndie \".\nTruly, it is incredible what people\nsee in the sun of Italy.\n\nG.\n\nbe a mark cut and the words \" 33,000,000 tyres\nwere made and sold from the day this column was\nerected, until now, January MDCCCCXXVII\".\nThese words would be engraved in large\nRoman letters.\nFurther up, some two feet or so, and after\nfour years had passed, would come a second\nsuch mark and also cut the Roman letters say-\ning \" 48,237,202 more tyres were sold by\nJanuary MDCCCCXXXIII\nProbably things would have advanced in the\nworld in those four years and we should be\ninclined to add \" signed Josephus Bright \". And\nat each succeeding four to six years a new\nrecord would be cut in the pillar.\nIn 150 years the pillar would be full and\nwe would commence on pillar No. 2 at the\nother side of the collonade.\nThus, while the firm lasted, an eternal ad-\nvertisement would be rising, living art indeed,\nbefore the population ; and, when the firm\nended, and the ages had rolled by, some ar-\ncheologist would come along and read the writing\nand declare that the words signified most important\nevents in the reigns of King George and his\nSuccessors.\nThis is the sole chance I see for theatres\nto be erected in this age on a grand scale, and\nwith pillars, by famous merchants of our day."}, {"page_pdf": 51, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.51", "texte": "ELEONORA DUSE.\nBorn 1859: Died 1924.\nPlate 18.\n\nTHE MASK\n1924"}, {"page_pdf": 53, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.53", "texte": "THE CHARACTERS OF SHAKESPEARE.\nCharles Lamh and S C.,\nSchlegil and Dowden and Sidney Lee—\nThey one and all of me\nTo take too hard\nThe work °f &e Bard.\nSimpler modes appeal me.\nReturn we to simpler modes.—M. B.\nThere once was a king named Macbeth ;\nA better king never drew breath;\nThe faults of his life\nWere all due to his wife,\nThe notorious Lady Macbeth.\nNo doubt you have heard of Othello—\nAn African sort of a fellow.\nWhen they said \"You are black! 4\nHe cried n Take it back!\nI am only an exquisite yellow n.\nI cannot help feeling that Lear\nAt the end of his splendid career,\nWhen he strolled in the teeth\nOf that storm on that heath,\nWas—well, just a little bit \" queer\nHamlet, I'm sorry to find,\nWas unable to make up his mind;\nHe shillied, he shallied,\nHe dillied, he dallied—\nIn fact, he was over-refined.\nThen Cymbeline. How about Cymbeline ?\nYou could hold in a cup — in a thimble, e'en—\nAll that is not\nSheer downright rot\nIn Shakespeare's presentment of Cymbeline.\nThe doings of Coriolanus\nShall not for one moment detain us.\nIt's clear that we can't\nAnd we won't and we shan't\nBe bothered with Coriolanus.\nHats off, however, to Romeo—\nOne o' the Montagues, don't-you-know;\nAnd we mustn't forget\nThat dear little pet\nOf the Capulet set,\nJuliet,\nWho asked him why he was Romeo.\nThese simpler modes appeal to me,\nThough very repellent C.,\nMy dear old neighbour —"}, {"page_pdf": 54, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.54", "texte": "TO NEARLY ALL OF\nUS OF THE NEW MOVEMENT:\nBY OURSELVES.\nTHE Theatre is CHEAP. It is still as\ncheap today as it was in 1900 although\ngreat efforts have been made by many theatre\nworkmen to make their work finer.\nTo restore values great changes are more\nnecessary than ever. But great changes.\nIt is not a small defect, this cheapness of\nTheatrical work.\nTheatrical work can be and shall be as\nfine in quality as any other work ; but to make\nit so we must look quick about it and lay our\nplans to that end. Too many of the new\nyoung critics with their emotional outpourings\nabout the work their gush about Bernhardt\nand Marie Lloyd and a half-dozen fairly good\nperformers help to cheapen what is quite\ncheap enough as it is.\nYou disdain the lead given you by the\nbest brains in the Theatre and are happy and\nhonoured to act the page to an actress ; you\ncarry her long tail with a certain page-like\nmock dignity.\nCarry it by all means one hour more:\ndon't drop it; but do clear off the stage and\nthat rapidly.\nMake room for men younger than you can\never be; men who have not been brought up on\nwhat Giuliotti calls \" cristianesimo coldcream\".\nYou are not well, it seems. You take things\neasily as though you were tired : as you pos-\nsibly are. Make room then for men who are\nnot tired.\nYour standard of theatrical art is the\nlowest: you are still in the gushing stage.\nIf you have no convictions that is really not\nat all surprising, for you are far too clever\nto have any.\nThe actors too. The playwrights, the\nscenic men, with some rare exceptions, all\nare cheapening the work seen on the stage.\nAs the standard set by Irving is no longer\nbefore you, you can easily afford to praise\nhim (or rather yourselves for your veneration\nof and affection for him), while doing work\nthe quality of which he would have considered\neighth-rate. As for any higher standard than\nthat set by Irving let us say Shakespeare's\nown standard you seem unaware of its\nexistence.\nIf the values of the stage matter at all to\nyou, if it matters what is performed and how\nit be performed, make this more evident.\nWhat seems to matter more to you is your\npercentages and salaries. Authors, actors, cri-\ntics are all alike in this : all but a handful.\nTHEN it is to the handful that we address\nourselves. Trundle the others off the\nboards we beg of you : have no further dea-\nlings with them and prevent the stage being\ncheapened.\nYou are not making way: you are not\npushing the cheapeners out sufficiently firmly:\nsome of you say your say: we have heard\nyou : you show courage and often. The most\ncourage is shown by the women. But now\nyou must begin to do something. You are\nunhappy about the way things are going. But\nwhat can you do? you ask.\nYou can, to begin with, entirely change\nthe stage. That to begin with.\nOf the drama we do not speak.... but of\nthe stage. You think it an overwhelming\ntask, and yet we know you to be courageous.\nWe will tell you where we think you fail\nand what you could do to begin things seriously.\nUnite and follow your leaders.\nDo not huddle one on the heels of the\nothers, all talking, all eager to show courage,\nand what you each can do. No one doubts\nthat you possess spirit and talent. But you\nmust show what they are worth. Not by rushing\non but by steadily holding back.\nAllow one man to speak for you; back\nhis word; do as he says ; follow his lead ;\nand keep following it and be steady. Then\nyou will win; then you will restore to the\nstage its old values.\nAnd if you like \" The Mask \" will give\nyou that lead. But \" The Mask \" cannot\ndrag you on.\nWhen men of purpose, even it they lack\nan objective, unite, it denotes at any rate that\nseriousness, without which, no changes can be\nmade, no values restored, no cheapness driven\naway.\nUnited to some serious end, be it what-\never it may, and a leader chosen, you will\nthen see how serious you all are, and how\nunited.\nThe first thing you should refuse to do\nwould make it clear that you are still the old\ngang. It's not gangs the European and Ame-"}, {"page_pdf": 55, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.55", "texte": "ncan Theatres need any more: it is two united\nbodies of men that are needed, European\nand American.\nDo you doubt it ? and you harrassed, per-\nplexed month by month about the work. How\nmany are the insoluble puzzles. Never do\nyou take part in a production but up glide\nsix or seven puzzles and begin to strangle you.\nTWO moments' pause to say we are not spea-\nking to any but artists be they dra-\nmatists, actors, stage managers, scenic men\nand the best assistants in the staffs.\nWE are not tired are you ?\nWhen in 1908 we began to speak about\nthese things, these perplexing obstructions which\nlittered the way towards a new Theatre, we\ndid not mean that they were mere trifles to\nbe solved by a hundred more productions\ndone a bit better. You have done many pro-\nductions and done them more than a bit\nbetter.\nDo you suppose we did not credit you with\nthat amount of ability ? Believe us, we knew\nquite well how brilliant you could be.\nBut that is not the point.\nThat was not what was either doubted\nor counted on. And we think you have come\nto see now that after a ten years' fling at\nTheatricals you are just where you were with\nsome ten years' experience added.\nSince you were willing to listen to us we\nlong ago suggested more steadiness.\nBut there you did not quite follow us.\nAfter these ten years we again suggest the\nsame thing more steadiness,\nWhat do we mean ? we will attempt to\ntell you.\nWhen a dangerous thing is undertaken by\na large group of men say the overthrow\nof tyrannical usurpers of power, (call them\nwhat you will, communists, anarchists, aristo-\ncrats, plutocrats or any other name which\nexpresses what you consider tyranny) and the\nreestablishment of order and- a fair chance to\nanyone who has something in him, this large\ngroup of men allow themselves to be led :\nthey follow the more serious and more capable,\nwho, in turn, elect and follow a leader.\nNo one acts for himself because he knows\nthat to do so may imperil the safety of the\nothers.\nThat is what is being steady.\nThey work, they advance, together. Were\nthey to advance singly each one would be\nbefore long dragged down, as (with sorrow,\nbut without mincing matters) we assert you\nhave been dragged down.\nYou will be dragged down and dragged\nright in to the old and false order of Theatre\nconditions if you cannot stop what you are\nnow doing and look around you.\nWhat was it you wanted ?\nA new Theatre wasn't it ?\nWhat is it you've achieved ?\nThis. You have done what we did: brought\nideas into the old Theatre ; these have been\nconsiderably cut, trimmed, recut, altered in\nshape, feeling, purpose, all: some remnant\nof what you dreamed has been preserved....\nand that remnant has been hailed by the\nmoney-makers and the stalls and boxes and\ndress circles as glorious. We have heard them\ntalking, these people who do not care. Wher-\never we have been strangers have come to us\ntelling us of how marvellous, how amazing\nan artist you are.\nWe know what you thought,\nWe knew what had happened to your\nideas, your work, your most ordinary practical\nsuggestions.\nIt would have been useless to tell these\nmouthy and excited nincompoops what we\nthought.\nYou were over in America or in Berlin\nor Paris or in our own London: until we\ncould get once more into touch with you we\ncould barely even convey to you the upper-\nmost thoughts about all these doings and chat-\nterings; until we could actually see and speak\nwith you we could not come to anything worth\nwhile.\nThat is where we are n0w.... and even\nhere .... although this shall reach you somehow.\nAnd yet how, when you read this, will you\neven then come to know what we mean by\nsteadiness ?\nWe cannot give the show away in front\nof the audience.\nBut there is away to begin. You in\neach of these lands are able to get together\nand know one another. You can actually\ntalk together.\nAnd there is such a thing as the telegraph\nand the post.\nWe write for and to you month by month\nand have done so for ten years now, or lon-"}, {"page_pdf": 56, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.56", "texte": "ger. But we hear too seldom from you.\nThough we hear from people far and near\nthat does not mean that we hear from enough.\nMoreover, we not only want to hear: we\nwant to see things done.\nThey are not being done so far as we can see.\nWe see, let us say, X.... beaten down at\nBergamo. Why? Solely because, while united\nto us all by all the ties we artists understand,\nthere is no practical clearly defined unity.\n\" What, an organized unity; is that what\nyou propose ?\n\" Assuredly \".\n\" But what about ' sack the organizers ',\nstop organizing create \" in Volume 9 of \" The\nMask \"?\nOn which let us have a word.\nFirst of all didn't you find \" sack the or-\nganizers \" good fun? Mustn't we keep the\nfun going anyhow. We thought the suggestion\nin \" The Mask \" to sack the people who\nsack us quite in style. No?\nAnd as for stopping organizing, by that we\nsurely took \" The Mask \" to be addressing\nthe incompetents who are always organizing\nlittle societies amateur companies Little\nTheatres little journals and the rest.\nThat they should stop all that and get to\nthe difficult task of pronouncing vowels cor-\nrectly, and drawing straight lines, would\nmean for them the nearest possible thing to\ncreating something someday.\nBut \" The Mask \" does not address itself\nto the same type of man all the time. It is\nright we suppose in believing that you will\nknow when and where you are addressed.\nAs you are here. You the artists, and\nnone others yet.\nAnd to you most assuredly and most se-\nriously we suggest that plans for a genuine or-\nganization be prepared without any delay\nwhatever, and without any haste.\nAn organization to what end?\nFirst of all to unite us all.\nSecondly to bring us all together.\nThirdly to chose our leaders.\nFourthly, to follow these.\nAnd this will bring us the new Theatre ?\nAssuredly not.\nBut it will bring us it.\n€J We are all a strange group of con-\ntrary natures, opinions and gifts.\nThese could be better combined than they\nare now.\nThere are the so-called Idealists who\nwant the Kingdom of Heaven at a blow\nso they are described by the good Barker.\nThen there is Appia; there is Stani-\nslawsky and his company; there is Reinhardt\nand his group; Gessner and his; your Ame-\nrican groups, the Guild, Equity, and the\nothers: the Italian groups, (for the moment we\nare not including playwriters, not out of any\ndisrespect but for practical reasons). Then in\nRussia the Kamerny company: then Isadora\nDuncan, Yvette Guilbert, our two great ladies,\n.... the only two great ladies still in the\nfield.\n(We have been slow or we would dearly\nhave loved we could say three. Cannot you\naid us that no more time be lost!).\nThen there is the admirable Copeau and his\ngroup. And others are to be found in Paris....\nnot Frenchmen. And in Switzerland and\nGermany not a few; in Holland too ; and in\nIreland of course.\nWho knows may be in old Scotland.\nOf England we will not speak, except to\nname Barker and Poel, in passing; and\nthey are not at work. If men of spirit exist\nin the work which the rest of us have already\nproved we are devoted to, we see none in En-\ngland.... We hear none. We see and hear too\nmuch denial there.\nIS that too sharp ?\nSome day we may tell you the story of a\nvisit paid by one of us to London and of\nactors spoken with.\nEngland can and may any day reassert its\ncapacity to see and speak.... to hear and\nspeak.... to not avoid all tasks. At present\nmen we thought able to express something, and\nmore able to attempt difficult things, all shirk\nthese and become humdrum and are forced\nto agree with the moderates who wish only\nto pull them well down, net them, and render\nthem useless.\nThe Old Vic ?... well, we don't respond\nto the Old Vic for we have never heard from\nan Old Vic-ite or seen one. Were we to\nsee their work doubtless we could value\nit. Would the Old Vic ally itself to anyone\nor anything for the sake of the Cause we all\nhave at heart a New Theatre?\nAnd now lest we too easily poohpooh\nthis same Old Vic, what of the others?\nOf you first, then of Appia, of Isadora, of"}, {"page_pdf": 57, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.57", "texte": "Yvette, of Stanislawsky, Reinhardt; do you\nsee all these uniting?\n\" We'll say neither Bo nor Ba \" as the Man\nfrom Gotham put it, but we leave it to you.\nBut what we will venture to say and repeat\nlest there remain a doubt, is, that until these\ncan unite, and until we all can unite, nothing\nserious can be done; nothing valuable can\nbe restored or added to the old Theatre\nno New Theatre can possibly come to exist.\n\nTWO AMERICAN\nTHEATRE MAGAZINES.\n\"THE THEATRE MAGAZINE\n\"THE THEATRE ARTS MONTHLY\nBY JOHN SEMAR\n\nAMERICA has made immense efforts these\nlast ten years, to shake itself free from\nthe humbug which prevents the development\nof its Theatre,—that humbug which resembles\nthe European growth as one ear of the ass\nis like the other ear.\nAnd if certain centres like New York keep\nus only too well informed that the humbug in\nthat city is as prominent as ever it was, this is\ndue in great measure to the admirable Theatre\nMagazine edited by Mr Hornblow, number\none of the two above-named publications.\nThose of our readers who know the\n\" Theatre Magazine \" with its photographic\ndisplay of Moeller or Morgan dancers, know\nthat the \" Theatre Magazine \" is quite sincere\nin its protests against \" Obscene Broadway\nShows which must stop \". These protests ap-\npear regularly in its columns.\nIt is not to be doubted for a moment but\nthat Messrs Meyers's handsomely printed Ma-\ngazine is all for good : all for good art; all\nfor the best artists.\nNo one could possibly assert that it is out\nto make money; that its desire is not to get\nthings better.\nThe very covers themselves demonstrate\nthe fact of this aim and the precise extent of\nachievement.\nThe December number for 1923 is be-\nfore us. Could anyone say that the picture\nof the girl on the cover in what appears to\nbe three to five colours is anything but the\nvery highest art? We ask? Its healthiness\"is\napparent, is it not ? Added to this it is a dis-\ntinguished piece of colour-printing: or are we\nmistaken ?\nYet someone only yesterday picked up\nthis journal and ridiculed the whole thing be-\nginning with these smooth coloured covers,\nsaying that it was a tenth-rate affair from every\npoint of view.\nYet what are its contents ? Let us turn\nthe pages.\nTo begin with it consists of 76 pages.\nOf these some 51 are filled with letter-press\nand photographs and a few sketches ; nearly\nall the rest are advertisements. Now 30 pages\nof advertisements out of 76 pages of maga-\nzine leaves not a bad balance.\nThe odd 50 pages contain six leading\narticles.\n1. The Sewer on the Stage.\n2. What we are looking for, by Four\nTheatrical Managers.\n3. In Search of an American Siddons.\n4. Vices and Virtues of the American\nTheatre.\n5. Broadway's King of the Chorus.\n6. Ballyhooing the Burlesque Business.\n\" The Sewer of the Stage\" by Mr\nSumner is written with the direct purpose of\nuplifting the City of New York, and pro-\ntests very forcibly against the plays which the\nNew York managers, we suppose, are produ-\ncing, and which have received good notices\nin the New York journals and possibly in\nMessrs Meyers's \" Theatre Magazine \".\nIt protests no less forcibly against \" pictures\nof half naked stage beauties\" which the\nnewspapers and magazines print. This is on\npage 9. On the page facing this, page 8,\nis a large page reproduction of \"The Graces\",\nfour girls certainly half naked, four members\nof the Moeller Dancers.\nSo here you see the tendency of the ma-\ngazine. It is obviously to give an illustra-\ntion of the very thing Mr Sumner protests\nagainst, so as to show that he is quite cor-\nrect in what he asserts.\nThe next article is written by Mr Belasco,\nMr Woods, Mr Miller and Mr Hopkins,\nfour celebrated managers of New York Thea-\ntres. They say what they are looking for."}, {"page_pdf": 58, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.58", "texte": "Mr Belasco, the doyen of the Managers,\nsays he is looking for plays, and admits that,\nwhile he is \" generally engaged in writing a\nplay \" of his own, he also \" assists by advice\na number of young writers who submit ideas\nor plots \" which impress him \" as capable of\ndevelopment into good plays\". That's all\nright. It's what Shakespeare did, and most\nother playwriters dislike doing. It's what\nDumas did. He adds that he always tries\nto get \" material adapted to the special re-\nquirements \" of his star performers.\nThis he admits is why he has to do so\nmuch altering, He winds up by saying that\nit is often an artistic joy to him to indulge\nhimself and put on a play which wont pay.\nMr Belasco is well known, has done good\nwork, is a picturesque figure, and to know\nwhat he is looking for is satisfactory.\nMr A. H. Woods is on the other hand\nunknown to us of \" The Mask \". Yet his\nfirst sentence helps us to know him a little.\n\" I have no sympathy for or interest in aspi-\nring playwrights or aspiring anything\". It's\nbadly put, but it's modest.\n\" I want plays that interest me \" he goes\non. What sounder common sense ? And\nthere are people not alone in Europe but in\nthe States who assert that American theatrical\nmanagers have too refined senses and not\nenough hard-headed practicality.\n\" I am receptive to the emotion the\nscript can give me \"; this is his third state-\nment : adding, \" I bought (by wire) \" Kick\nIn \" on the strength of a fifty word scenario\nsent me from Los Angeles \"—which seems\nby every rule of the game to breathe common\nsense.\n\"I bought 'A Voice in the Dark' the\nsame way. The telegram in this case did\nnot even give me the complete scenario; it\nmerely suggested an idea which I thought\nnovel enough to take a- chance on \".\nThe future of the American Drama seems\nassured if only more such managers as Mr\nA. H. Woods can come into power.\nMr Gilbert Miller is the next to step for-\nward and gives away the secret of what he\nwishes, what he is \" looking for \".\n\" I do not know that 1 can truthfully say\nat any one time that I am looking for any\none or any several certain things \".\nNow at the first glance we recognize\nMr Miller to be a careful man. He'll con-\nfess right and good to what he's not look-\ning for.\nAnd he is positive that he has \" a weak-\nness \" for the English language. Yet with\nhis genius for being careful he quickly makes\nit clear that his strength lies in his interest\n• J f X T\nfor \" American Plays for America . Very\ncautiously he comes in his very last line to\nconfess, that if (our under-line) he is \" look-\ning for anything, it is [for association with\nmore such capital native penmen as Richman,\nHopwood and Field \".\nNext, Mr Arthur Hopkins.\nHe says more or less what Mr Woods\nsaid. But he seems to say that he has sym-\npathy for aspirations (whereas Mr Woods\nsays he hasn't any), because, says Mr Hop-\nkins, he has more than a mere desire to\nmake money.\n\"My primary reason for putting on any\nplay is that 1 like it so much 1 want to see\nit on the stage\nBut after reading carefully these four re-\nplies to the question \" What are you look-\ning for ? \" we find that not a single practical\nanswer has been given.\nWe must admit that it is Mr Woods,\nhitherto unknown to us, whose replies please\nus the most. This apparently quite sceptical\nman with his easy way of buying plays\nby telegraph, strikes a rash note we rather\nlike.\nCjf But to the consideration of the rest\nof this \" Theatre Magazine \".\nLeading Article 3 states that someone is\n\" In Search of an American Siddons \". It\ncan't be Mr Belasco, Mr Woods, Mr Miller\nor Mr Hopkins or they would have said so.\nWho is it then that is looking for a fig on\na thistle or a thistle on a figtree ?\nThe author proceeds to say that Mrs\nFiske, Miss Anglin and Miss Le Gallienne\nare none of them Mrs Siddons, but are very good\nactresses ; and what a good actress Miss Mar-\nlowe was;—and how Miss O'Neil flirted with\nfame—and how Miss Keane's chances were\nspoiled—and charming Miss This and deli-\ncious Miss Tother were all right but no good\n\" for the future Of Miss Menken he asks\n\" will some producer please gamble on her\npotentialities in classic tragedy or high-class\ndrama?\" because, says he, we want to see\nher extended\" ; and of Miss Alice Brady\n\" She may do something really great one"}, {"page_pdf": 59, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.59", "texte": "day \" : but \" has she that within her to carry\nher upward and onward ? \" he asks. \"We\nmust watch Miss Lord\" he winds up. If\nsome manager could be brought to \" gamble\non her potentialities \" would that, we wonder,\n\" carry her upward and onward ? \" Unfor-\ntunately Miss Cowl is one who is \" close \"\nto being Mrs Siddons, though Mr Willis has\n\" grave doubts about her . So he turns to\nask what people may expect from Phyllis\nPovah.... \"a most painstaking young actress\nand passes on to Miss Helen Mackellar\nand on to Miss Eldridge, and to Miss\nSadie Thompson, Miss Leonore Ulric and\nothers.\nBut not once does he ask to see these\nadmirable performers in a part which would\ntest their peculiar Siddons quality; Lady\nMacbeth, for example, or Queen Katharine\nor some such difficult piece of work. Neither\ndoes he show much courage. Miss Marjorie\nRambeau, whom, alas, we have never seen, has\nbeen spoken of, by people who know immedia-\ntely if there be genius or no in an actress, as\npossessing undoubted genius;—yet Mr Willis\nspeaks of her as \" without inspiration .\nHow interesting it is to find the \" Theatre\nMagazine\" showering its praises around so\nlavishly, telling us of so many ladies with so\nmuch talent, and yet doubting if any will be\na second Siddons.\nIs there in all this any criticism of Ame-\nrica itself ? Where talent exists so widely yet\ndoes not develope and come to its own, some-\nthing is generally wrong with the place— not\nthe talent. Yet Mr Willis says not a word\nto lead us to suppose that America is not the\nmost perfect of places for the development of\ntalent and genius. All he is sceptical about\nis the talent and genius. Hmm!...\nMr Hornblow the Editor then takes the\nnext four pages for himself and in these he\nwrites us all about Sir John Martin Harvey's\nproduction of CEdipus, ending up with \" the\nReinhardtian touches were well done and\npasses on to \" The Swan , \" Launzi\nand Galsworthy's \" Windows \" produced by\nthe \" Theatre Guild\", to all of which he\nis polite. Then \" The Dancers , of which\nhe says that \" the distinguished author of\nTrilby would assuredly turn in his grave could\nhe guess the sort of play his son has turned\nout\". He adds that \" the standard of En-\nglish audiences was never lower than today ;\nand that its \" pretty poor stuff for a Du Mau-\nrier\", for the dialogue is \" wholly without\ndistinction \" and so on.\nMr Hornblow then goes for \" The Zieg-\nfeld Follies\" which do not seem to please\nany more. We are sorry for that as we hoped\nto see them in 1934 when we purpose going\nacross to see whether Mrs Siddons has been\nfound or not.\nThat we have doubts at all about this is\ndue to the article which follows Mr Horn-\nblow's critiques, and which is called \" Vices\nand Virtues of the American Theatre \" and\nis written by Melchior Lengyel.\nThis article attacks the system of em-\nploying a \" play doctor\" to cut and slash\nthe dialogue of a play for a manager; at\nthe same time it praises Mr Belasco and\nMr Hopkins. So the Vices are the \" play doc-\ntors \", the Virtues Belasco and Hopkins.\nBut that gets us not one jot nearer Mrs\nSiddons.\n€J Then comes what we consider to be\nquite the best article in the number. It is a very\nclever piece of work by Miss Ada Patterson,\ndescribing the talents of Mr Ned Wayburn.\nNeed we remind anyone that Mr. Ned Way-\nburn is the King of the Chorus-girls.\nHe is the only man whose name is in\nthe New York telephone book four times.\nA man of incredible energy, of good family,\nwent on the stage, was crowned as King of\nBuck Dancers ; and so we may suppose him\nas able to teach chorus girls how to dance.\nBut not as Fokine teaches them; that is\nwasting precious time: Wayburn is swifter.\nMiss Patterson called on Mr Wayburn\nand was admitted.\n\"I am the official picker of Ziegfeld Fol-\n\" lies girls \"he said. \"In that capacity I saw\n\" six thousand seven hundred and forty three\n\" girls last month. Out of that number I se-\n\" lected ninety-seven for the present Follies.\n\" Out of the six thousand odd four thousand\n\" had never had stage experience. Not one\n\" of them but could have been made into an\n\" actress. Any girl who has good features\n\" and a sense of rhythm and hasn't a hump\n\" can be made into an actress \".\nMiss Patterson reminds him that he \"omitted\nintelligence\".\n\"I meant to\" he re plied.\n\"Do you really mean\", she went on,\n\" that any woman can become an actress?"}, {"page_pdf": 60, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.60", "texte": "\" I do. just that \" (a).\n<1 Miss Patterson asked Mr Wayburn how\nhe selected future stars.\n\"As they arrive in the outer office and\napply, they are card indexed and divided into\ngroups.\n\" The division is made as to size.\n\" Girls of from five feet, to five feet three\n\" inches, are listed as dancers. Those whose\n\" height is from five feet three to five feet\n\" seven, as mediums. The girls who are from\n\" five feet seven, to five feet eleven, are show\n\" girls.\n\" Squads of 'em are sent into my office\".\n(By the way Mr Wayburn's card index\ncontains the name, addi ess, and personal\nhistory of every chorus girl who ever invaded\nManhattan Island (ie New York City) or de-\nserted it).\nMiss Patterson describes his office as\n\" more worthy of the name studio \". So fine\na place it is that \" Miss Raw Material on\nentering it feels piteably insignificant. Stan-\nding in line with her group, be it dancers or\nmediums or towering showgirls, she first\nlistens to a lecture \". Here she quotes Mr\nWayburn's lecture to the showgirls :\n\"If you have a sense of rhythm, which\n\" presently we will discover, you are fortu-\n\" nate Your features are good. It will be\n\" necessary for you to learn to stand better.\n\" You must neither sway back nor slump\n\" forward. You must learn to lift your feet\n\" easily and not to be conscious of them.\n\" And the same of your hands. Your height\n\"is your fortune. If you had been a dancer\n\" you would have earned thirty-five to fifty\n\" dollars a week. If you had been a me-\n\" dium fifty to seventy-five. But because of\n\" your height and the scarcity of showgirls\n\" you may earn from seventy-five to a hun-\n\" dred dollars a week \".\nThis is all refreshing nowadays when scep-\nticism is so much on the increase.\n<| Miss Patterson's last question was\n\" What is the average life of a chorus girl ? \"\nto which Mr Wayburn replied sententiously\n\"Five years\".\n\" Why so short ? \" said she.\n\" For one tiling \" he answered \" because\n\" ambition takes some of them into principal\n\" parts. Many of them marry. One reason\n\" is, that girls grow old fast in the chorus\".\nAnd the interview closes.\n§ Who is not left with wholesale admira-\ntion for this remarkable man of a remarkable\ncontinent ? What speed he has, what system,\nwhat absolute common-sense.\n\" 1 saw 6743 girls last month \" he has\nsaid.\nThat was so as to pick ninety-seven for\nMr Ziegfeld. And we ask how can we in Eu-\nrope ever hope to compete with this. We almost\nfeel that after all they are sure to discover\nthat second Mrs Siddons in less than five\nyears, for in that time Mr Wayburn will have\nindexed another four hundred and four thou-\nsand, five hundred and eighty (404,580) girls,\nand one is bound to be the Siddons.\nIf this isn't the way to find her, we ask\nthe world, what is ?\nWe have heard Mr Arthur Hopkins de-\nscribed by Americans as an artist and we\nnever could understand what was meant by\nthis. Mr J ones is an artist: Mr Geddes,\nMr Rosse, are artists. That we could under-\nstand.\nBut now we see what was meant by Mr\nHopkins being described as an artist. He\nis an artist more or less in the same way as\nMr Wayburn is an artist—but is he, can he\nreally be considered, such a great artist as this\nwonderful King of the Chorus?\n€J But we must get on to the other pages\nof the \" Theatre Magazine \".\nAfter a few incomprehensible leaves,\nwhich, however, contain one very pretty\npicture showing Miss Marlowe and her hus-\nband Mr Sothern in \" Cymbeline and\nshort articles on Vaudeville and Music, we\ncome to a portrait of Miss Jean Howard of\nthe Ziegfeld Follies, talking with a Parrot.\nWe had to stop and take a long look, spite\nof our wish to keep hustling on. So this,\nthis is one of the ninety-seven chosen ones.\nComplimenti, Signor Wayburn!\nThere are quite a few pages given to de-\nscribing the doings of the amateur Stage, a\nstage which, among other things, can boast\nThe Pasadena Community Players.\nThen one very dry anecdote of Sir Henry\nIrving and Mansfield, and a few more pages\nof advertisements, and the experience is over.\n\n(a) Reading this remarkable interview with a man of such\nimmense practical experience as Mr Wayburn's and coming\nto this point, my mind turned to thoughts of Maria Carmi\nand Lady Diar.a Cccper arid then returned to Mrs\nSiddons. * J. S."}, {"page_pdf": 61, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.61", "texte": "WE have read through this whole number\nof \" The Theatre Magazine \" and are\ndelighted with the impression we have re-\nceived.\nWe are convinced that America had not\nthe slightest need for the visits of Salvmi,\nHenry Irving, Madame Eleonora Duse, The\nMoscow Art Theatre, Reinhardt and Co, or\nany European examples of old fashioned stage\nArt;—and by this we would not have it sup-\nposed that we mean any disrespect towards\nour best European products. But America is\ndifferent from Europe.\nRead the following passage which is in\nbig letters on the announcement page of the\nsame Theatre Magazine.\n\"We have seen the Moscow Art Thea-\ntre troupe and hailed them as the finest of\nworld players.\n\" But there is another theatrical organi-\nzation even greater than Stanislavsky and\nhis associates—a new theatre whose pro-\nductions are the best yet achieved in the\ndirection of a new and distinctively mo-\ndern form of drama.\n\" Read about it in the next issue \".\nThat's the spirit—surely.\nNever give a thing time to take root in\nAmerica—it might take root and blossom and\neven bear fruit. And unless it be home-\ngrown, after all, why it bear fruit,\nblossom or take root ?\n€j} And this brings us to the second Ame-\nrican Theatrical Magazine.\n\nTHE THEATRE ARTS MONTHLY.\nThe number for January 1924 is the copy\nchosen.\nAvoiding all talk of Mr Way burn, for\nwhich we are sorry, it devotes its pages (very\nhandsome pages too, on good paper) to what\nperhaps some Americans might dub high-brow\nstuff.\nWe must admit we rather like this sort\nof high-brow ; the brow suits the figure—and\nthe figure is an athletic one. Different from\nthe \" Theatre Magazine \", it is its complement.\nIt stands for what it believes in, and we cannot\nthink that, because it stands firm, walks with\nbearing, speaks well and generally conducts\nitself like everyone else, it need be dubbed\nhigh-brow or taken for anything at all resem-\nbling that eccentric and unusual object.\nThere are some forty—or is it eighty?—\ndifferent peoples on our earth. Hindoos, En-\nglish, New Zealanders, Germans, Hottentots\n—how many? Well, the people who form\nthe small group of \" Theatre Arts Monthly \"\nare like those we have met of every other\nnationality.\nThey seem to like a hundred dollars\nwithout forgetting that there are other things.\nFor they like Theatres as do so many others,\nin those eighty different lands. But they do\nnot like money, see money, live, sleep and\nwake, money; curse and bless money, or sell\nwhat's worth much to them for one dollar a\nhalf-ounce.\nIn this they are like everyone else on\nearth—except the eccentric ones.\nThese eccentrics are like all other eccen-\ntrics, born to keep us jolly. They concern\nthemselves with card indexes so amusingly\nat times that we almost die with laughing.\nThey sell all sorts of precious things (we\nneed not enumerate them) for a few dollars;\na percentage of a hundred dollars a week,\nfor example. And when they do that it is\nsmart fun. But a still greater joke is when\nthese jolly fellows come forth robed in\nthe majesty of seriousness and solemnly an-\nnounce what they are doing— —and why.\nAt times we see them looking for something.\n\" What are we looking for ? \" they ask each\nother. \" Artistic joy \" they reply. The house\ncomes down.\nBut our friends in \" Theatre Arts Month-\nly \" need never say what they are looking\nfor, since we know they have found it. And\nthey have shouldered the heavy thing. They\nare not the comedians of our stage-world;\nthey do not split our sides with laughter,\nthough anyone who is ass enough to laugh may.\nTo draw any comparison between these\ntwo journals, \" The Theatre Magazine and\nthe \"Theatre Arts Monthly\" would be the\nvery last thing we should wish to do; but\nthose who chance to see the two, side by\nside, cannot help noticing slight differences.\nWe mean of course in paper, type, and\nsuch-like externals.\nWe have already stated the number of\npages and so forth, of which the \" Theatre\nMagazine \" consists."}, {"page_pdf": 62, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.62", "texte": "The \" Theatre Arts Monthly\" has as\nmany pages, and slightly smaller; but not a\npage is split up to make room for advertise-\nments. \"Highbrow\" is it? Silly ass.... it s\nplaying the game properly.\nSo it comes to it that this \" Theatre Arts\nMonthly \" has more pages devoted to text\nand designs than has the \" Theatre Magazine \".\nAnd the text is very readable and the designs\nare by the best artists.\nIf there are not twenty-three pictures of\nchorus girls that is only because \" Theatre\nArts Monthly\" does not care to intrude\nwill not poach on the other journal's pre-\nserves.\nWe will not bore our readers by any fer-\nvid expressions of enthusiasm, or \" sympathy\nas others would put it, for the group of or-\ndinary good workers who have flocked round\nthe American representatives of the thing called\nThe New Movement in the Art of the Theatre.\nFrom Sheldon Cheney, the original editor,\nthrough Robert Jones, down to Ceddes and\nMacGowan, and on to the latest recruits,\none and all of them are doing what the world\nhas for centuries known as the thing the good\nworkman and the artist always does. Mr. Stark\nYoung too : and last and certainly not least\nMiss Isaacs.\nIt is quite ordinary, being but a natural\nyet a sincere affection for that plain unvar-\nnished thing The Theatre. They have given\ntheir lives to enjoying this thing ; and, if some-\nthing good happens to be made while they\nare enjoying themselves, well, they hope the\nworld will like it and a few people will at\nany rate not be the losers.\nWe put it badly.... but just for the mo-\nment cannot put it any better.\nAt the end of 1924 those who subscribe\nnow for a year s twelve numbers of the\n\"Theatre Arts Monthly\" will have a very\nhandsome volume indeed.\nMost Theatre Journals are a bit of gaudy\nfun for the moment (let us thank them for that)\nbut they are not particularly worth keeping.\nSome things wont keep, what with the changes\nin the climate, and the flies, and the rest of it.\nThe \" Theatre Arts Monthly \" will keep.\nAllow us to be as serious as possible on\nthat point. At the end of a year you will\nbind up your twelve numbers and have a\nvolume to which you can turn very often.\nThe writers and draughtsmen, architects,\npainters and stage-managers who contribute\nto it are a rather discontented lot of people.\nAs are we of \" The Mask \". Discon-\ntented does not mean gloom. They, and we,\nare always in the highest spirits.\nWe, and they, are perhaps more grave when\ndiscontented with ourselves and what we do,\nthan with the eccentrics who keep us jolly ;—so\nno one need suspect us of being cross about\nwhat the merry outsiders are doing. They are\nthere and we hope they will stay there ; banjo\nat breast may they strum till kingdom come, the\nWarries and the other Wanglers, the Wopkins\nand the whole excrutiating race of take-me-\nserious-artists who are no artists but just jolly\nold merchants, dealing in this and in that:\nnever working, just trading nicely, you know.\nBut we work in our studios, theatres,\nor wherever we happen to be. We work\non even if in a Palace in Venice or in a\nHotel in Amsterdam or by the Nile. Our\nwork is not dependent on a studio or an of-\nfice, or a card index, or even a theatre.\nIf we have a theatre, meno male. If none,\nall's one.\nThat is the touch of comedy we add to\nthe general merriment; it settles, balances the\nhorror of the words Art and Artist. They\nare terrifying words it must be admitted.\nStill, there they are, like \"agent\" or \"ma-\nnager\", \"King\" or \"Pope\";—words will\nbe words.\nBeing able to do our work even on top of a\nbus or under a haystack balances it all,—makes\nit pleasant, and settles all differences.\nRemember this, you jolly merchants in\nBroadway, when next inclined to poke fun at\nour friends in Number 7 East 42nd Street.\nYou have the laugh but, after all, they\nhave the melon."}, {"page_pdf": 63, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.63", "texte": "GIUSEPPA CORTESI\nFROM A PORTRAIT ENGRAVED BY OLDANI.\nIn the History of the Stage La Cortesi figures as a dancer of incomparable merit.\n\nTHE MASK\n1924"}, {"page_pdf": 65, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.65", "texte": "GIUSEPPA CORTESI.\nGIOVANNI MEZZOGIORNO.\nIF we are asked to name the great European dancers of the\npast, although never having seen them dance, we come\nout pat with Fanny Ellsler or La Guimard, La Barbarina\nor Taglioni. Allow me to come out as pat with La Cor-\ntesi, not having seen her either.\nShe was born sometime about the year 1780, and\nBernardino Mezzanotte speaks of her name as destined to\nbe eternal: yet it is today forgotten by all but a rare few,\nand, (so far as my search of two and a half years goes)\nhas not been heard of out of Italy.\nBut listen to Mezzanotte:\nI SERTI NOBILI\nCHE SON QUI' APPESI\nIL NOME ETERNINO\nDELLA CORTESI;\nand this he prints as I have done in capital letters in his\nANACREONTICA made to her in 1804 and printed\nthat year in Perugia, on that well-remembered summer's\nday when she came to dance at the Teatro Civico del\nVerzaro in that city \" con applauso universale \" as PRIMA\nBALLERINA ASSOLUTA.\nThen it was that the great Oldani was prevailed on\nto engrave the celebrated portrait which is reproduced here,\n{page 129) which reproduction, alas, merely gives her head,\nbut in no way shows us that Divine Pepa who inspired\nMezzanotte to pen his Anacreontica:\nVegeti I* Edera\nCresca il virgulto\nBambino abbraccilo\nLo stringa adulto.\nVenga col TEVERE\nII TRASIMENO\nFecondi TArbore\nD'Arcadia in seno\nII Nome celebre\nSu questa Riva\nDi PEPPA amabile\nMai sempre viva—\nThe name of II Mezzanotte is almost as eternal as that\nof La Cortesi, yet he too awaits his Biographer. He must\nnot be confounded with A. Mezzanotte the author of\n\"La Disposizione della Croce etc., Perugia 1818.\nThe evidence of La Cortesi's immense powers to en-\nchant the Italian nation will be given to \" The Mask\"\nreaders in due time: \"daughter of Terpsichore 99 she was\ncalled, even as La Guimard, Taglioni and La Barbarina;\nfor her the sun arose, the birds sang, in the middle of the\nnight. I should be much surprised if even the great\nMile. Virginie (a), a name hardly less celebre, be proved to\nhave won more hearts, gained greater applause, or made\nmore money.\nGiuseppa Cortesi seems to have been married to Antonio\nCortesi some time about the year 1802.\n(a) In 1773 Mile. Virginie made over 60,000 livres in six\nmonths in the city of Lyons, says the Historian of Mile. Rau-\ncourt.\n\nTHE POET IN THE THEATRE.\nHill Crest,\nBoar's Hill. Oxford.\nYours sincerely,\nJOHN MASEFIELD.\nDear Sir,\nIsee that, in The Mask, you discuss the place of a poet\nin a theatre.\nIn this country, poets have the supreme precedent of\nShakespeare, who settled this point by calling some of the\nother artists, who worked in the theatre with him, \" his\nfellows \".\nA poet should be \" the fellow\" of the other artists\nworking in the theatre. He and the other artists should\nbe working together to give to each other the greatest\npossible opportunities for the exercise of their powers.\nWhenever this happens in any theatre something noble is\nachieved.\nNo worker in the theatre can do without the art of\nhis fellow workers, each should bring all that he can to\nthe common stock, which thereby becomes uncommon."}, {"page_pdf": 66, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.66", "texte": "BOOK REVIEWS.\n\nTHE SHAKESPEAREAN STAGE\nby E. K. Chambers. 4 Vols. £ 3.10.0\nClarendon Press.\n\nShakespeare Stage and Georgian Stage.\nHOW I would like to know exactly\nwhat Mr E. K. Chambers feels\nand thinks about the Theatre of our\nage, the Georgian stage, now that he\nhas finished his amazing book on the\nElizabethan Stage.\nI am aware that this curiosity of\nmine may be rather out of place: may\nbe in the worst of taste, but there it is.\nIt is at its best only a word put in,\non behalf of today, for these four vo-\nlumes of 44 The Elizabethan Stage **\nare all for yesterday and for tomorrw.\nChambers is a giant of sorts. I\nwas always greatly impressed by him; in\nhis 44 Mediaeval Stage \" he surprised\nme by his power to stretch back\nsome centuries and take up in his\nhand the whole of the ancient stage\nand lift it up and over the centuries and\nspread it out for us to see — but he\ndelighted me at the same time as he\ntold of things he had seen and heard\ngoing on in the Churches and on the\nmarket places; these he made to live\nagain as though seen by him only\nyesterday.\nBut this time I really am terrified\nby him. First by his awe full capa\ncity to devote twenty years to this one\nbook. Secondly by his refusal to be at all\nhuman about this old stage of Eliza's\ntime; and thirdly by his manner of\nmaking a snowball of the dust till it\nbecomes a piece of granite and then,\nwith a one-two-three, the ball is at us.\nIf he had thrown it as dust, the\ndust in our eyes would only have\nconfused us, may be blinded us; but\nto hurl the entire edifice at us is an\nexhibition of strength I hope never to\nwitness again.\nIt has hit me, anyhow.\nI had almost forgotten about His-\ntorians, for I had perceived that His-\ntory was growing too alluring to me.\nI was at the time prying in a gingerly\nway into a charming corner of histo-\nrical dust and had just discovered one\nspangle and was about to pick it up\nand declare that it was the sun of\n1612 when I was struck down by\nthis piece of granite weighing 1570\ntons; and curiously enough it has\nnot killed me.\nBut it has certainly killed all belief\nthat I might ever have had in myself as\na historian. Fled is any hope that I\nmight some day write a famous History,\nwhich, 1 will now admit, I did once\ncontemplate writing. It was to have\nbeen in about sixteen pages, this History\nof mine. It would have weighed three\nounces and a half at most. Its light-\nness would have been principally due\nto its utter incorrectness, but also not\nentirely unrelated to the fact, that I had\npromised myself there was to be no\nword, no date in it, which was not\nabsolutely true.\nBy this double process I felt I could\nsoon get my little tome ready. I would\nhave spent the preparatory years cutting\ndown all other Histories of the Stage,\nslicing out every fact which could not\npossibly be sworn to before an En-\nglish Judge and Jury; and thus out of\n500 pages of Vancona's book about\n108 lines would remain over for me;\nout of 267 pages of Rilag's book I\nshould have swept away 265 pages,\nleaving 3 over for me; out of Nan-\ntius s five volumes 4 pages would have\nbeen left, and so on and so on through\n135 books in all.\nThat which remained would still be\nopen to so very much doubt, that about\nthree quarters of it would have had to\ngo and at last the world would have\nhad my sixteen-page History of the\nStage, and the veracity of every line\neven then would have lain in question.\nBut it would have been a light easy\nbook to doubt. An example, for in-\nstance ;\nI would at first, possibly, have al-\nlowed to remain in the two dates\nwhich we take to be those on which\nShakespeare was born and died; but\nsince I believe that no one can positive-\nly swear to either, out they would go.\nu But there are documents which\nprove , etc., Documents prove noth-\ning. 44 Then why not enter the facts\nthat \" William Shakespeare was pro-\nbably born on April 22 in 1564 at\nStratford and that .... \"\nBut the word probable should never\nbe allowed to be seen inside a book\nof History; as for 44 it is possible\",\nwhat is that? Everything is possible,\nanything is probable,\n44 Well then, skip his birthday and\nput down that William Shakespeare\nwas baptised on April 26th 1564 at\nStratford\" says the man who likes\nreading histories, if not writing them.\nI would assuredly do so; but how\ndo I know that he Was baptized, or\non April 26th? Did you see him bap-\ntized in the church?\n44 I did not—but I have seen the\ndocuments signed by—\nDocuments?—signed?—But anyone\ncan falsify documents, and anyone can\nsign them in place of witnesses who\nhave suddenly dropped the pen and\nrun terrified out of the vestry, on hearing\nsome imaginary ghost swearing in the\ncellarage—or gone off may be to get a\ncup of tea or a stoup of ale.\nBut leaving that myth Shakespeare\nalone (mythical only in the Historical\nsense) how about Queen Elizabeth?\nThere we tread on sacred 18th\ncentury ground; soil which cries to us\nthat there never be any scandal about\nher;—and what would be more scan-\ndalous than to discover that she had\nnever existed?\nPeople have been found bold enough\nto whisper that our Virgin Queen\nnever did exist. As well assert that\nMr Drinkwater's plays do not contain\nsome moral platitudes. Yet how prove\nthis or anything? What we take for a\nVirgin Queen may not be all it seems;\nwhat is apparently a moral platitude\nmay be, after all, no such thing.\nHow prove it; that is all I wish\nto know.\nThe mystery of the Man in the Iron\nMask is not at all mysterious because\nhe is an obvious mystery, an odd ro-\nmantic thing, invented, we take it, for\nfun. The great Leblanc does this\nyearly and does it better.\nWhereas Shakespeare, and Queen\nEliza, and all the more solemn myste-\nries, are such prim orderly mysteries,\nthat all the world imagines they know\nall about them.\nBut all the world may be utterly\nwrong: for who knows?\nOnly yesterday, January 16th 1924,\nsomeone swore to having seen some-\nthing he had never seen, and a second\nbeing told me that he had not seen\nwhat was before him as he spoke,\nand he touching it and looking at it.\nI weary you thus solely to suggest\nthat nothing ever was or will be, but\nonly is: that what's gone doesn't count,\nnor what's to come, but what is counts\na little.... and what is perceived counts\nmore.\nAnd, to come to Hecuba, I would\nonly reassert, that which so many others\nhave stated or felt, which is, that it is\na work of art which counts most of all\nfor it is perfectly real. Art deceives,"}, {"page_pdf": 67, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.67", "texte": "whereas History pretends not to. Art\nis a real deceiver.\nIt is even as real as the few things\nno one in his senses will deny reality\nto,—the bottle of wine, the blanket, a\nsmile, the sea and the other material\nglories.\nThe flask of wine is good to see—\nto see it tipped up and its red or white\ncontents flowing into the glass is good;\nbut perfection only is achieved as this\nwine passes into us. While it passes\nand for the moments then and there,\nand the 3600 subsequent moments,\npresuming every second of the hour\nwhich follows a glass of wine is potent.\nAfter that it is nil.\nTTTe blanket, a blessing on the cold\nnight, a delicious reality, is a curse in\nthe hot summer and autumn nights\nwhen we kick off this beastly reality.\nThe sea, delicious to look at, is some-\ntimes unbearable to hear; it moans too\nlong and too often in the rough season;\na dip in it in summer is a delight, but tco\nlong in it tires or cramps you or kills\nyou. But it is always real—pleasant\nor not.\nI know of few things which are all\nthe time perfect, as assuredly the work\nof art is. This, however slight it be,\nis itself and unchangeable: and it is\nperfect as such, because it is perfectly\nreal. Even a fragment is worth so\nmuch that some of the world's wisest\nmen fight to obtain the fragment,\nbidding and outbidding one another.\nAnd the victorious connoisseur on get-\nting it home sits in his chair, turns his\nhead sideways to discover his immense\ncontent that there is the fragment. You\nrecall how Daumier, (or someone calling\nhimself Daumier) gives you this sense of\nperfect contentment in his lithograph\nor is it a drawing?\nArgue how it will, the whole po-\npulation of the earth cannot say 44 your\nfragment is non-existent \".\nON coming to read for the second\ntime this book on 44 The Elizabethan\nStage\" we learn that it is, in the pure\nhistorical sense, a masterly work; more\nnear to perfection than any work in\nEnglish on the stage that has preceeded\nit, except the same author's 44 The Me-\ndiaeval Stage \".\nAs for faults; well, perhaps the\nwork is three limes too long; like\nVanburgh's houses; may be there is\ntoo much space: possibly too many\nrooms for a twentieth century family\nto live in it comfortably. If I want\nto go to breakfast I have a twenty-\nfive minute walk before I get to the\ndining-room; if I wish to catch a train\nI have to allow half an hour extra to\nget out of the house. And so with\nthis book.\nThe period of time covered is\nnot several centuries; it all happened\nbetween 1558 and 1616 ; fifty-eight\nyears in all (if it really happened).\nYet as we read we wish the author\ncould be more curt, a little less ro-\nmantic and more human with his pen;\nsomething more in the style of that most\nfamous of all the histories which begins.\nWilliam the Conqueror 1066\nWilliam Rufus 1087\nand which ends\nGeorge V 1910.\nWhereas Mr Chambers begins his\nbook by talking delightfully to us about\n\"the psychology of the folk\", \"the\nnation's destiny\", and 4 4 Elizabeth\"\nwho was 44 a young and attractive\nqueen \".\nAll of which I, masquing as an\nadamantine critic for the moment, con-\ntend has nothing to do with stark history.\nThe same may be said of Monnier's\nsuperb 44 Venice in the 18th Century\"\nand Strachey's 44 Queen Victoria \":\nthose were masterpieces constructed out\nof facts and coloured by fancy; not a\nfact but was 44 a fact \", but—and here\nit was they triumphed—not one fact\nthat wasn't lost in the delicious fantasy\nof two great artists.\nThe path Chambers might have taken\nwould have led him away from temp-\ntation. But he thought that a middle\ncourse was best, and many a wise man\nhas thought like him.\nThe result is that what should have\nbeen a swift two hundred pages of\nbrilliant prose or a slow hundred pages\nof bony fact in chronological order, is\nnor one nor t'other, but a long drawn-\nout sequence of brilliant pages which\nflicker and go out and have to be re-\nlighted by the continual use of those\ncross references, the close packed little\nallumets in the Appendixes, Notes and\nother, too-well, hidden places.\nAnd here in these hidden away\nplaces we do come to the splendid\nhistory pure history ; to something\nwhich, while it is obviously open to\ndoubt, is not made more doubtful by\nany covering; its facts are laid bare.\nI refer to the Lists. Appendix A\nconsists of a Court Calendar for 1558\nto 1616 and is contained in fifty-five\npages. Appendix B consists of Court\nPayments 1558 to 1616; and this in\nforty-one pages.\nThen in Vol. 11l we have a list of\nPlaywrights in Alphabetical order, three\nhundred and eighteen pages.\nBut I find this is too long a list, and\nnot as easy to read as the liberty of\nthree hundred and eighteen pages ought\nto have made it,—or; had the Histo-\nrical spirit been sterner, as fifty would\nhave made it.\nFor if I am to have a long three-\nhundred-page list the author must\nsweeten it by imagination even as\nMonnier calls in Imagination to that\nend. Three hundred pages without it\nis somehow a pity.\nALL this has been merely to suggest\nthat what is, is a reality, and only\nfor the Hour that it lives; and that the\nactualities of the Hour, and the art of\nall time, come into the same category\nof the Hour—the real: and History,\nhowever perfect, belongs to another ca-\ntegory, that of the unreal: so my last\nas my first thoughts resolve themselves\ninto one question, 44 What, I wonder,\ndoes this masterly student of the unreal\nTheatre think of the real Theatre—of\nthe Theatre as the home of an art, ie,\nthe Dramatic art, the theatre of the\nhour? ' Those two unrealities, the\nPast and the Future, put me often\nunder their spell, but to me their rela-\ntion to the Present is like that of the\nEast to the West. I live in the cen-\ntral part of the world, and whether I\nlike or dislike the civilization of our\npart of the globe, it is the only real\none for me. All else is past or future.\nChina or America, however fulfilled or\npromising, are but fragments, incom-\nplete unless I bring all I know of them\nto bear upon the problems of this\nplace—Europe, and this day, 1924.\nAnd so I feel I have some right in\nexpressing my curiosity as to what\nMr Chambers thinks of the Stage\ntoday. Should we go back and revive\nthe conditions of the stage of Eliza-\nbeth's time? and if so how may that\nbe done? Are we fso hopelessly *in\na muddle that we can neither return\nto better conditions, nor even find a\nscholar something good for his enter-\ntainment? Or has he found something\nin our Theatre which entertains him\nafter his work is now done? Will he\nnot relax now, and, breaking the ice,\ntell us frankly what it is which does\nentertain him in the Georgian stage?\n\nE. G. C.\n\nA LIVING UNIVERSE. Three\nHibhert Lectures by L. P. Jacks, D. D.,\nL. L. D., D. Lit.; Hodder & Stough-\nton. London.\nDr. Jacks writes of Education, of\nReligion, of Christianity, of Go-\nvernment, of Immortality, of most\nthings. He says some noble things\nand practical things. Someone, I\nthink it was the Dramatic Critic of"}, {"page_pdf": 68, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.68", "texte": "\"The Times0 again, twisting Dr. Jacks's\nwords somehow or other, made him out\nto be uttering nonsense: said he had\n\" a new view of Shakespeare \".\nThis was because Dr. Jacks expres-\nsed one of the oldest \" views \" ever\nheld by man: which was, that a thing\nacted conveys to the spectator some-\nthing which the same thing when merely\nread does not convey.\n\"Go thou and do likewise\" says\nDr. Jacks, is a motto worth while:\nwhereas \"go thou and say likewise \"\nnever possessed the same value.\nAnd he holds that the action of a\nplay can reveal more than the mere\nwords can. Seen happenning, the act\nstrikes home to us; read of in the arm\nchair it loses much of its power.\nI think this is what he means.\nBut his concern is with the greater\nstage, Lear's Stage of fools, rather\nthan with the stage of the theatre.\nMine, begins and ends with the\ntheatre.\nDr. Jacks dislikes the notion that\nartists should talk of art instead of\npractising it, which is a very natural\ndislike ; but what would you have ?\nThe artist does a good deal, it seems\nto me, under the circumstances. I\nknow quite a number of artists, very\nordinary folk, with this remarkable\nthing about them; they live practically\nupon air. It is therefore not surprising\nif they indulge in a good deal of talk.\nOn the Gontinent they sit in cafes brea-\nthing in their food and talking of art\nbecause may-be their bedroom looks\non to a wet wall of an inner court, is\nwithout air, or is infested with things,\n... mice, etc. ... and they cannot find\na better. It is not so jolly as a well\nlighted cafe in the winter, and in the\nspring they begin to sing and to talk\nof other things: in the summer they\nforget what it is they said; in the autumn\nthey remember that winter is coming\non apace. And they buy one another's\ndrawings. These are the little artists.\nOf course the great artists are other-\nwise : they have a special liking for\nhot drinks and good luncheons and at\nbanquets they too talk of art,... never\nforgetting to act in a very strange\nway almost regularly ; ie. they buy the\nless successful artists' drawings and\npaintings.\nAs time goes by, and worries increase,\nand money does not come in as re-\ngularly as it would if they could be\nonly a bit more civilized and-educated,\nthey notice this stand-offishness of\nmoney, and begin to think things out\nfor themselves afresh. In short, they\nbegin to educate themselves when it's\na little late.\nThis leads them in time to realize\nthat if they are to get through the\nyear without too much discomfort to\nthemselves, wives and children, (for\nthey often have families) they must\npositively manage to make £2OO for\nthe three of them.\nNow how to make £2OO. All\ntalk of art must go on if the sum is\nnot to dwindle to £lOO, for it is up\nto every artist to become his own press\nagent nowadays, ....a luxury Head-mas-\nters and Generals and other useful men\nare spared. The artist is an absolutely\nuseless person. Trust Democracy to\nhave made that certain.\nNo doubt Dr. Jacks has carefully\nread a book on and by a mad fellow\ncalled Van Gogh; those \" Letters of a\nPost-Impressionist \". Constable is the\npublisher. The poor wretch is the\nwhole time talking about art. He\nworks at his art daily, but as no one\nwants it he doesn't sell it, ... and he\ntalks on and on. Then he dies. Instantly\neveryone buys up cheaply all he has\ndone to sell it before long for thous-\nands of pounds. Just the amount he\nneeded to let him live and be of use.\nIf Dr. Jacks could give a series of\nlectures on how naughty it is for people\nto speculate in the work of painters,\nsculptors and others, would life be\neasier for any of the artists ? No.\nSomething would have to be done, not\nmerely said.\nMeantime if art is on the decline it is\nnot because the artists talk but because\nnothing is done by those in power,—\nat Oxford —let alone in London.\nThe artists are a pious lot of rogues,\nI know, and not worth much; but\ntheir work is sometimes rather happy.\nPrevent that traffic in it, Dr. Jacks,\nwhich renders it unhappy and ugly :\nif you have it in your power; it would\nindeed be doing something every one is\ntalking about.\nAnd as for speech, give us some\nmore Hibbert Lectures, one being on\nPrime Minister Mussolini, a man who\n\" goes and does likewise \".\n\nW. S. GILBERT, HIS LIFE AND\nLETTERS. Sidney Dark and Row-\nland Grey. Illustrated. Methuen. 15/—\nTHERE are enchanting verses and\nsketches by Gilbert in this volume.\nNumbers of amusing anecdotes and\nmany a valuable one too; shrewd\njudgements on English Theatres' and\nactors, make up a book which could\nonly have been better had Gilbert\nwritten it all himself. As it is, about\nhalf of it is from his pen, and the\nother half is well and carefully done.\n\nOUR AMERICAN THEATRE by\nOliver Sayler. Brentano's.\nTHE title is wrong to begin with.\nIt might be more reasonably called\n\" The Theatre in America An-\nother title might have been \" Push, ....\nor how to spoil everything\nThe fault is not Mr. Sayler's for\nhis other books have been very inte-\nresting. The fault is Broadway's. The\nAmerican Theatre will come along\nassuredly, but it is yet too early to\nwrite a book about it. When the book\nis written, all the facts will cluster\nround some one name.\nHad Mr, Sayler thought for some\nmoments and asked himself, \" who is\nfar and away the greatest American\nfigure that has appeared in our land ?\n—who next?—how related \", and then\nlooked around and found the other\nsix or seven related to these and\navoided all mention of Europeans, he\nwould have written a small book but\none which would live. We hope he\nmay yet come to write it.\n\nFLOWER IN DRAMA by Stark\nYoung. Scribner's, $1.50.\nIT will interest many of those who\nlike to learn that the Theatre is not\nwholly the blatant place they still suspect\nit is. The writer has woven fifteen\nessays into a small book, and each\nessay is graceful, and a number of\nsensible things are said in each.\nEveryone should buy the book and\nput it by the side of his collection of\nNathan. Nathan and Young are not at\nall alike. Nathan cannot help slapstick-\ning; Young cannot help being restrained.\nAn excellent pair for New York,\n\nPL A YS FOR A FOLDING THEA-\nTRE by C. C. Clements. Stewart\nKidd Co. $2.00,\nIN these trifles we see the writer has\nbeen tempted by a large canvas and\nhas filled it with a little picture. Tak-\ning a small field as a theme,.... some\neveryday happening in America .... and\ngetting rid of his own personal emo-\ntions, the writer should make us a\ngood play in time. I like beginnings\nwhich do not quite succeed. I prefer\nthose which entirely fail to those which\nare perfect. Mr. Clements will go on\nand do better.\n\nANTON CHEHOV by W. Ger-\nhardi. R. Cobden-Sanderson. 7/6 net.\nI was unfortunate and my critical\nspirit was weaker than ever when I"}, {"page_pdf": 69, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.69", "texte": "struggled with this book, for I had\njust been reading Regnard and Lesage\nand I found that Chehov would not\ndo, No, he will not do. And Mr.\nGerhardi's book sounds all the time\nas though it were propaganda.\nI do not like art which depresses.\nGogol has given us 44 Rivisor \", so that\nwe know that Russia is able to write\na real play, .... can realize what is a\nTheatre and why people go to Theatres.\nIn a Russian Theatre I, of course,\ntumble to Chehov immediately; it is\nall so prettily sad; so whispered and\nwistful, and it can be exceedingly\nbeautiful. But it wont do out of Rus-\nsia. Even in Russia I found that the\nmore aristocratic people had no use\nwhatever for these plays. Grief, suf-\nfering and medicine are not enough,\n.... and a very very little goes a long\nway on the stage.\nThese plays preceeded the Revolu-\ntion, and I should say helped very\ngreatly towards making it inevitable.\nThat Chehov is immensely clever,\nhas the soul of a poet, and must\nhave been a delightful being, does not\nalter my impression that such work as\nhe produced is not what is wanted in\na Theatre. It helps to kill the specta-\ntor; it gives him nothing.\n\nA HISTORY OF THE REFOR-\nMATION DRAMA 1660-1700\nby Allardyce Nicoll. Cambridge Uni-\nversity Press. 16/-net.\nA BOOK of four hundred pages\ndevoted to forty years of our\nEnglish Drama and its Playhouse with\nvaluable lists and a good index. Ob-\nviously the book on this subject, al-\nthough I shall always have a special\nliking for Mr. John Palmer's 44 The\nComedy of Manners\" in which the\nwriters and their way of thinking and\nwriting comes out to me more clearly.\nI envy Mr. Nicoll his powers. This\nit is which reminds me how good is\nhis work even if I should ever doubt\nit; but I wish he would spell the name\nof one of my favourite actors properly.\nTiberio Fiorilli should never have his\nsurname written Fiorelli.\n\nTHE WINDMILL. Edited by L. Cal-\nlender. Heinemann. 8/6-net.\nTHE Windmill, published by Hei-\nnemann, offers us many a dozen\ngood bits of reading by Beerbohm,\nConrad, Galsworthy, Masefield, and\nall the best writers whose work Hei-\nnemann and Co issue from their press.\nWe missed some of Mr. Nicholson's\nwoodcuts.\n\nMASKS AND DEMONS by K.\nMcGotoan and H. Rosse. Harcourt\nBrace & Co.\nTHIS is a first-class collection of\nphotographs of some of the best\nMasks in existence. Arlechino's and\nPantalone's are missing .... which is a\ngreat pity.\nThere is room for another book by\nthese authors on the same subject, in\nrather lighter vein, less about Gods\nand more about Masks and how they\ncome to be made.\n\nFOUR FRENCH COMEDIES OF\nTHE XVII CENTURY. Regnard,\nLesage, Marivaux, Destouches: Tran-\nslated by Richard Aldington. Rout-\nledge. 7/ 6-net.\nMESSRS Routledge and Sons are\nto be heartily thanked for giving\nus a translation of four of the French\nComedies of the seventeenth century.\nRegnard, Lesage, Marivaux and Des-\ntouches are all represented, and Ri-\nchard Aldington the translator has\ngenerously given us their four Memoirs.\nPrettily and well bound, the book\nis blessedly cheap.\nBut how brilliantly Moliere shines\nout in his least farce after having read\nthe very best work of these four mas-\nters. Still, read them if you want\nsomething good to read, for even in a\ntranslation they are a delight.\n\nLIFE OF WILLIAM SHAKES-\nPEARE by J. Quincy Adams. Con-\nstable. 21/-.\nIT is all very well, but there are too\nmany lives of this man and I want\nto see them all rendered null and void\nby the appearance of a book of forty\nto fifty pages recording all that is ab-\nsolute fact and nothing such as 44 when\nShakespeare retired from acting we\ncannot say for evidence is lacking.\nYet we may suspect that it preceded\nhis withdrawal from the less taxing\nand more congenial labour of compo-\nsition \".\nI quote from this, the latest, Life\nof William Shakespeare; and, while I\nmust admit that I have enjoyed reading\na good part of the book, I have only\nbeen able to do this by telling myself\nthat it was all gospel. And of course\nit is no such thing.\nBut I do not believe the legend has\never before been told quite as well,\nand so this is the Life to purchase.\nThe book has an excellent Index,\nsome sixty excellent plates. It is well\nprinted and costs only twenty-one\nshillings, which for Constable and Co\nis an improvement, some of their books\nbeing unnecessarily costly.\n\nSARAH BERNHARDT by Sir\nGeorge Arthur. Heinemanri. 6/-net.\nTHE REAL SARAH BERN-\nHARDT by Mme Pierre Berton\nand Basil Woon. Boni & Liveright.\nU. S. A. $3.50.\nTWO books on Sarah Bernhardt,\nand both are readable.\nSir George Arthur's is the best, and\nis a very agreable little volume of 178\nsmall pages on a complicated persona-\nlity, (it's the acting which complicates),\nwhich could hardly be done justice to\nin less than 300 large pages. But I\nknow of no biography which gives a\nbetter picture or a truer one of the\ngreat actress and the celebrated woman.\nIt contains many a new fact, and\nthe author makes his points well. It\nis not without significance that he was\nbut nineteen years old when Bernhardt\nfirst came to London in 1879. He\nwrites with all the charm of a young\nman of nineteen and with the added\ngrace of years.\nMme. Pierre Berton writes differently:\nshe prefers not to write at all: she talks\nto Mr Basil Woon and tells him a\nnumber of things which interest me,\nand others which remind me that it\nis an actress who is speaking. For\nexample, she begins in this fashion:\n\"For all my intimacy with Sarah\n44 Bernhardt I find it difficult to believe\n\" that she loved me. I think that,\n\" on the contrary, she distrusted me,\n44 and I even believe that at times she\n4 4 hated me, because it was I, and not\n44 she, who married Pierre Berton.\n44 Yet she confided in me \", etc., etc.\nThese are the first five lines of the\nbook, and the rest of it is like these five\nlines; sparkling incidents, secrets, bril-\nliant pictures, threaded on to a tape.\nThere is a very great deal about\nBernhardt's violence: in this book she\nis made to abuse people right and\nleft in the language used by 44 Nana \",\nthat amazing book on the Theatre\nwritten by Zola about the time of\nBernhardt's prime.\nMadame Berton is curiously rude to\nM. Maurice Bernhardt; but then, in\nmy opinion, she is as rude to the Mo-\nther. Altogether a whiff of les cou-\nlisses ; small-minded, false minded and\nmalicious.\nIf this story of Bernhardt reflect the\nlife of the French Theatre of our age,\nit is indeed time for actors and\nactresses to begin to exercise their\nminds ; for there seem to be a half"}, {"page_pdf": 70, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.70", "texte": "dozen important things about life and\nabout art which they have failed to\napprehend, and which, when realized\nby them, will help greatly towards\nbringing the work of the Theatre in\nline with the other arts.\nIn short, the book is a revelation\nof how limited is the intelligence of\nthe actor and actress, especially the\nactress; and for this reason I naturally\ndislike the book intensely, and wish to\nexpress clearly that I consider it a\nfalse portrait of this remarkable lady\nwho is but lately dead.\n\nBRITISH DRAMA LEAGUE\nPLAYS Published by Basil Black-\nwell. Oxford. 3/6 each.\nOF the first eight volumes of Plays\npublished by Mr Blackwell of\nOxford for the British Drama League,\nI think the best two are, Mr. W. J.\nTurner's 44 Popomack \" and Miss Gwen\nJohn's 44 The Prince \".\nMiss John does all so nicely, so\ndelicately : she is original but not out-\nrageously original, and if much in her\nplay is dramatic and theatrical, all is\ndistinguished. Where things halt at\nall, it is for the theatre folk to busy\nabout and use their wits. I hope the\ngifted authoress is planning more plays.\nOn page 51, says Miss John in her\n44 Emendations \", we are to delete the\ncomma after the word 44 Juno \". No\ncomma has turned up so far, but, if\nit dares to, we will delete. There is\none after the word 44 Diana \". I\nwonder if we may delete that.\nMr. W. J. Turner in his 44 Popo-\nmack \" play does enough to prove\nthat he knows how to write a play.\nThat is not always one of the concerns\nof the modern playwriter, and I can\nbut be grateful when I am made\naware of this.\nTo begin with he does not hesitate;\nhe does not chatter; he raises his cur-\ntain and at once you are delighted.\nHis people talk and you listen eagerly.\nI cannot say as much for most\nplay writers, who, even if they can be\nall things on earth, and yet fail to bring\nyou to listen eagerly, have failed in\nall which counts.\nHaving got you to look and to lis-\nten, Mr Turner goes on to to interest\nyou by all sorts of devices, and then\nyou begin to smile and grow excited.\nWere he to bring an elephant on to\nthe stage or show you a meeting of\nangels in Paradise you would be held ;\nand what duller theme, what sillier\nlcoking animal ?\nAdd to all this that, when he is\ncomic he is ever grave, and when se-\nrious always merry, and you have some\nidea of what I mean when I say that\nhere is someone who knows how to\nwrite a play, ....a modern play ...,even\nif this be not yet the play which is\nto prove it to you.\n\nMAGAZINES.\n\nIf your subscription has expired don't\ndelay but renew it at once. Yearly\n$5.00. 28476 West Bth St. N.Y.C.\nWHETHER it be one of the charms\nabout the arts of writing verse\nand prose and painting pictures to be\nincomprehensible, we do not know; ...or\nto be a little incomprehensible perhaps;\nwe cannot say: but we should be incli-\nned to be very dogmatic about printing.\nWe imagine that Mr. Joyce would not\nbe very tolerant with a printer who\ncame along with a 1924 notion to\nprint Mr. James Joyce's name thus,\nASEJMCJYOSE. It's noble, we grant;\nthere is nothing at all bourgeois about\nit; it would trip up the man in the\nstreet right away: but would Mr. Joyce\nlike it, or would he like it if one pro-\nposed to print him this way:—\nYet that is the mood some folk get\ninto when nothing spurs them to be\nsensible and ordinary.\nProved too, ....for when the same\nfolk have to talk plainly they can do\nit well enough. The spur which causes\nthem to come to earth is a simple one\nand sharp too, Cash... Dollars... £.s.d.\nNever do they announce that 44 sub-\nscriptions can be renewed by writing\nto Number 444 West 555 Street,# in\nany but the most direct and excellent\nway. Never do they put it like this,\nfor instance:\nSub can be scrip\n444 West\nrenew tion ed\n555 Street\nby writ\ning\nTO NUMBER\nThe spur never fails to wake them\nup at the right moment.\nIN its April number The Sackbut\nhad, amongst other good things, a\nvery lively article on • Rossini in Lon-\ndon ' by Giuseppe Radiciotti, whose\nhistorical studies on the Theatre and mu-\nsic are always entertaining and valuable.\nCurrent Opinion (New York) is\nan ordinary Monthly Magazine packed\nfull of information culled from every\nother journal and magazine of the mo-\nment ; it seems to contain rather less\non the Theatre than it once did, but\nis none the less the most readable\nmonthly publication we know of. It\nresembles the Review of Reviews\n(London) which, under the editorship\nof Mr Wickham Steed seems to have\ntaken on a new lease of life.\nOrd och Bild (Stockholm) always\npleases us greatly, for its excellent arti-\ncles on the Swedish Stage and for the\nway it is printed. An ordinary pub-\nlication, it yet takes care to set up\nits pages with some style. It is still pub-\nlished by Wahlstrom and Widsstrand\nin Stockholm, and its illustrations are\nalways refreshingly Swedish. Soderhelm,\nPaasche and Behrens are still its editors.\nMost magnificent of all illustrated\nmonthly magazines known to us is The\nArchitectural Review. Its size is the\nsize of the architect. What fellows\nthey are, to be sure, these architects.\nAll of them have a sense of power ;\nnone of them seems bothered by a\nfoot-rule. Ask them to build a pyra-\nmid or design a programme or issue a\njournal, and something better than\nanyone else can ever conceive is bound\nto come. Their vision is always a\nlarge one. And so this Review of\ntheirs is a huge one ; its plates spread\nthemselves around without stint ; its ar-\nticles are boldly conceived and written ;\nthe type the best, the margins superb.\nWren looms largely through its numbers,...\nand the Queen's Dolls' House in the\nMarch number looked a full sized pa-\nlace ; no hint of it being only a model.\nFor us the Architects then, for they\nhave those rare things, a sense of po-\nwer, vision; and still walk with the\nstride known in the days when Inigo\nJones, Wren and and Vanburgh pa-\ntrolled old England."}, {"page_pdf": 71, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.71", "texte": "WORK AND PLEASURE.\nA LEADING ARTICLE REPRINTED FROM THE TIMES\nMAY 2,1924.\nJ. S.\nWHILE a certain section of the Press, a Section\ngrowing smaller year by year, is misrepresenting\nall that Gordon Craig stands for in his work> his\nsupporters will have experienced a distinct sense of\npride and pleasure in seeing the old \" Times re-\npresenting and interpreting it as it does in this deader\npublished on May 2nd, and which, hy the courteous\npermission of the Editor, we reprint here.\nIN a recently published book, 44 Woodcuts and some\nWords Mr. Edward Gordon Craig, a confir-\nmed and incurable artist, speaks of his wood-cutting\nas his means of keeping from heart-break, as his\n(inadequate) livelihood, and as his source of enjoyment.\nMost of us are familiar with the idea of work under\nthe first two of those aspects. Work, we know, is an\nefficacious drug: a soporific, under the influence of\nwhich we forget our domestic worries, our failures in\nlove or on the golf links, all the unhappiness that\npounces upon us in spare moments. Work, we know\nalso, is for most people the source of income ; and so\nstrongly has this idea laid hold of us that he alone is\nthe 44 practical \" man who does work only for the\nsake of the money that it brings him; and, conversely,\nthe only work that deserves the name of work is\nthat which the practical man does. Because the exi-\nguous stipends of the clergy bear no relation to the\nwork they do, and because that work is not done at\nfixed hours and in a fixed place, the notion is pre-\nvalent—and not only among the uneducated that the\nclergy do no work at all. 44 All that for a song ! \"\nsaid Cecil of Queen Elizabeth's gift to Edmund\nSpenser. Poems are not practical things : the writing\nof them is not work. The only man who works is\nhe who reaches the office every morning at ten and\nleaves it not before five; though experience seems to\nhint that not every moment of every office hour is\nfilled with arduous labour, except, of course, in the\ncase of the lordly principals, whose profound contem-\nplation of matters too hard for the general is not\ninterrupted by their meals, scarcely even by their sleep.\nWork is not work unless it is, in that sense, practical,\nand unless it is also remunerative. Should it be dis-\ntasteful as well—a drug that is as nasty as the old-\nfashioned medicines—then it is work indeed. -\nMr. Gordon Craig found his wobd-cutting mode-\nrately remunerative and a drug so pleasant that he\nenjoyed taking it. And he goes on to declare that\nhe, the artist, to whom the work was more important\nthan the pay, is the practical man. He enjoyed, as\nwood-engraver, the finest pleasure that life has to\noffer: the pleasure of doing what he liked. His\nwork was neither a means of buying pleasure nor an\nobstacle to the obtaining of pleasure. It was pleasure.\nThat is an idea which has escaped both our reformers\nand our reactionaries. Even William Morris did not\nclaim that the Golden Dustman's work was a pleasure\nto him. It was a disagreeable necessity, to be com-\npensated for by fine clothes in off-hours. And it is\nan idea that is obviously incompatible with our present\nstate of society. In a mechanical age, most work,\neven among the brain-workers, must be mechanical;\nand mechanical work, however effectual a drug, can-\nnot be a pleasure in itself. Yet it is cheering to the\nrebel who lurks in each one of us to see the practical\nman flouted as a dreamer and the artist upheld as\npractical: work declared to be not a disagreeable\nnecessity, nor a mere means of livelihood, but a plea-\nsure. We cannot all be artists; but, after chuckling\nover the paradox, the humblest of us might be cheered\nby it into seeing how much of pleasure can be squee-\nzed out of his own dull and trivial round, and how\nmuch he may do to deserve that pleasure by exerci-\nsing some of the artist's perseverance and self-disci-\npline."}, {"page_pdf": 72, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.72", "texte": "EDITORIAL NOTES.\n\n44 SOMETHING CONCRETE \".\nOctober 24. / 923 - May I. / 924.\nON the first of these dates Mr Ar-\nnold Bennett came out with a\nstaunch blast of trumpet headed 44 A\nShakespeare Theatre AT LAST\".\nThe man his staunch blast heralded,\nwas Mr Dion Calthrop:—44 Mr Dion\nCalthrop, out of his own head, has done\nsomething concrete \" cried Mr Bennett,\ndetermined to be heard in the last row\nof the Gallery. What Mr Calthrop\nhad done he then told us was to esta-\nblish a mainly Shakespeare Theatre at\nthe Kingsway.\nOn May Ist of this year, seven\nmonths later, it is announced that\n44 Mr Dion Calthrop intends to reopen\nthe Kingsway Theatre with a revue\nnamed 4 At Honje \\ \"\n€| We have always had a fancy for\n44 something concrete \"; we like staunch\nblasts from the heralds; but we like our\nheralds to know what is 44 concrete\"\nin the Theatre, and to be not quite so\nstaunch to the wrong thing.\nWe should hardly imagine that 44 the\nboy Donald Calthrop \" as Mr Bennett\ncalls him, was young or stupid enough\nto have any fixed and unshakeable\nbelief in drama which is as concrete\nas the Shakespeare drama, or any other\ntroublesome but satisfactory work of\nhis kind.\nMr. Calthrop is a delightful come-\ndian, an excellent stage manager, an\nenergetic director; and some there are\nwho class him with Mr. Play fair and\nMr. Dean and consider them together\nthe hope of the English stage.\nCalthrop is just the very man to\nproduce 44 The Young Person in Pink\n—which he did produce and perfectly\nbut we think that he has not quite, yet,\nbeen visited by those other moods in\nwhich it becomes possible, to produce\nthe Young Person in Black, .... or\nKing Lear, or A Midsummer Night's\nDream.\nWhat then possessed Mr. Bennett\nto come out with his staunch blast of\ntrumpet.... announcing next to nothing?\nSuch valuable heralds as Mr. Ben-\nnett should not waste themselves. A\ncontinuous, a steady blast of trumpets\nfrom ten men of his capacity, and the\nWalls of Jerico would indeed erect\nthemselves, after having first dipped to\na salute.\nBut there would have to be steadi-\nness in their blasts; to tootle first in\npraise of Nihil and then on the part\nof Dionysus is not either playing the\ntrumpet, or the game, to any concrete\nresult.\nThere are a number of little groups\nin or around London, anyone of which\nif trumpeted steadily by ten men of\nMr. Bennett's standing would be esta-\nblished and become concrete with time\nhelping things along: add a good deal\nof time.\nThese are: Mr Nigil Playfair's group.\nMr Calthrop's group.\nThe Old Vic. group.\nThe Birmingham group.\nThe Reandean group.\nThe Fagan group.\nThe McDougal group.\nThe Bridges Adams group.\nAre any of these people or groups\nfirst class, and, if so, which? They\ncan't all be equal in value; is any of\nthem the best? if so, which?\nThat decided, why do not Mr Ben-\nnett and nine other men who know,\n(we grant it takes a bit of knowing)\ntrumpet and trumpet again for the shop\nthey decide on as the very best, and\nget that concretely established before\nbeginning on the second.\nWhy trumpet every year for a dif-\nferent shop?\nThe concrete is assuredly just what\nis wanted: 44 something concrete\";....\nThe best of Mr. A. B. Walkley is,\nthat he always has trumpeted the same\nold firm: that's the style : and Fidelity\nthe trademark.\n\nCLARITY.\n\nFROM AN ENGLISH\no DAILY JOURNAL, o\nTO BE READ SLOWLY.\nLiverpool, Saturday.\n44 HTHE first half of this morming's ses-\nA sion showed further weakness on\n44 bull liquidation, in view of the easiness\n44 of New York overnight. With the\n44 exception, however, of stop-loss exe-\n44 cutions, there was little fresh selling\n44 in the market, and when short cove-\n-44 ring commenced later a farthing a\n44 pound was easily recovered. The\n44 statistical position is gaining in strength,\n44 and there is a rather better inquiry\n44 for actual cotton \".\nAnd there are some people in the\nworld who say that 44 The Mask \" is\ndifficult to understand.\n\nINCORRECT.\nJ. S.\nTHE 44 Glasgow Herald *\\ one of\nour most intelligent British jour-\nnals, contained the following old tar-\nradiddle on April 10th 1924 : 44 Ob-\n-44 viously Gordon Craig lacks common-\n-44 sense he would blow up every\n44 theatre in London or 4 Gordon-\n-44 Craigise ' everything in it \".\nAs well flare out with 44 Obviously\n4 4 4 The Glasgow Herald ' is a horribly\n44 stupid paper \". There would be as\nmuch sense in the statement as in the\none which it makes and we have\nquoted.\nHow does the 4 Glasgow Herald '\nknow that Craig 44 lacks commonsense \",\nand 44 would blow up every theatre in\nLondon or 44 4 Gordon-Craigise * every-\nthing in it \" ?\nThis is a typical bit of careless\njournalism for which everyone who\nwishes well to the British Theatre has\nto pay; and it is for this reason we\nobject.\nUntil Gordon Craig has at least one\ntheatre in which to prove how little he\nwould blow it up, the 4 Glasgow He-\nrald's ' statement remains a blunder.\nEnglish theatrical information is at\na very low ebb : the perpetrator of\nthe above blunder later on proceeded\nto speak of 44 Artists such as Mr. Coch-\nran and Mr. Basil Dean *\\\nMr. Cochran and Mr. Dean cannot\nbe spoken of as artists. The first is a\nrare good impresario and the second\nis a proper kind of 44 producer\nMr Gest 44 produces \" 44 The Miracle \"\nin New York : Mr Dean 44 produces \"\nmany plays in London: and, if that\nmeans anything today, Professor Rein-\nhardt 44 produces \", ....so what value\nhas the word 44 produce \" today ?\nAnyhow, a valuless paragraph on\nMr. Craig has been produced by the\n44 Glasgow Herald \" and has been an\nutter frost. We wonder who was the\nproducer.\n\nAll Rights reserved. July 1924.\nGerente responsabile Ferdinando Baggiani\nTipografia Giuntina, Firenze."}, {"page_pdf": 73, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.73", "texte": "J||llliill!illilllllllllillIillllll!lllllllllllllll(||||||||||||||i;ill!illllllllllllllllllllll!llllllllilllllllllllllll!lllllllllll!lllllllllllll!llllllllllll)lll|||||illlillll||]L^\n[CONSTABLE BOOKS!\nI INCLUDE 1\niT E N\nDENCIES OF MODER\nENGLISH DRAMA\nBy A. E. MORGAN. 10/6 net.\nYorkshire Post: \" A work of which it is possible to speak in terms of glowing praise... A survey not only\nof modern English drama, but also of the theatre... May be commended to those whose interest in the\ndrama is theatric no less than to those whose approach is literary }>.\nN 1\nALSO\nI CHRISTOPHER\nI MARLOWE\nI A play by ERNEST MILTON. 16/- net.\nWith a prologue by WALTER DE LA MARE\nand a cover design by RONALD BALFOUR\nEE Also so copies bound in white and gold and signed by\nzs the author.\nThis important and beautifnl play, written in rhythmic\nprose, will introduce to the public the poetic talents\nof a young actor already known for his brillant perfor-\nmances at the \" Old Vic \" and in Galsworthy's suc-\nss cessful play, Loyalties.\nAND\nSAINT\nJOAN\nA play and a preface\nby BERNARD SHAW. 6/- net.\nHere are a few section-headings from the long preface :\nJoan original and presumptuous : Joan and Socrates ;\nContrast with Napoleon ; Was Joan innocenl or guilty?:\nJoan's good looks ; Joan's social position ; Joan's vi-\nsions; The Evolutionary Appetite; etc. etc.\n| 10/12 ORANGE ST. LONDON. J\n\nMESSRS. CHATTO & WINDUS\nHAVE THE HONOUR TO ANNOUNCE THAT THEY WILL PUBLISH THIS AUTUMN\nAN EDITION LIMITED TO ABOUT 250 COPIES OF A SELECTION OF\nBOOKPLATES\nby\nGORDON CRAIG\nTHE BOOK WILL CONTAIN: - q5O REPRODUCTIONS IN COLOUR & LINE\nq AN ESSAY ON THE BOOKPLATE BY MR. GORDON CRAIG; q A COMPLETE\nLIST OF HIS WORKS IN THIS FIELD; q & A DESIGN PRINTED FROM ONE\nOF THE ARTIST'S OWN WOODBLOCKS & SIGNED BY HIMSELF. THE\nBOOK WILL BE PRINTED IN ENGLAND AT THE CURWEN PRESS\nPRICE, 3 GUINEAS NET.\nA PROSPECTUS WILL SHORTLY BE ISSUED: PLEASE APPLY TO\n97 & 99 ST. MARTIN'S LANE\nLONDON, W. C. 2."}, {"page_pdf": 74, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.74", "texte": "WHAT OUR FRIENDS.\nSAY OF \" THE MASK \"\nTHE REFEREE.\nA RICH BUDGET CRAMMED FULL OF LIVE\nTHEATRICAL IDEAS, WITH SOMETHING\nBRILLIANT ON EVERY PAGE\nSeptember 23. 1923.\n\" CONTAINS A MASS OF INTERESTING,\nNOT TO SAY INTREPID, UTTERANCES IN\nTHEATRICAL MATTERS AND THE DRAMA\nGENERALLY. IN FACT IT TOUCHES THE\nSTAGE OF ALL NATIONS-\nFebruary 24. 1924.\nCHRISTIAN SCIENCE MONITOR.\nIT HAS BEEN THE FIRMEST FRIEND AND\nCHAMPION OF THE ACTOR... IT HAS PRO-\nVED ITSELF THE FRIEND OF THE DRAMA-\nTIST, THE DANCER, THE SCENOGRAPHER,\nTHE MACHINIST ; OF ALL WORKERS OF\nEVERY KIND SO THEY BE GENUINE THEA-\nTRE WORKERS, November 10. 1922.\nDAILY TELEGRAPH.\nA VERY AMUSING AND STIMULATING, AS\nWELL AS A MOST BEAUTIFUL MAGAZINE.\nPALL MALL GAZETTE.\nNOT A PAGE IN IT WHICH IS NOT INTE-\nRESTING AND STIMULATING IN A FINE WAY.\nWESTMINSTER GAZETTE.\nA QUITE REMARKABLE MAGAZINE, RICH\nIN INTELLIGENCE.\nN. Y. DRAMATIC MIRROR. U. S A.\nA DELIGHT TO BIBLIOPHILES, WITH ITS\nBUDGET OF FRANK, ORIGINAL NOTIONS.\nProf. WILLIAM ROTHENSTEIN.\nIT IS EVER A DELTGHT TO SEE IT, TO\nHANDLE IT, TO READ IT. January 1924.\nTHE MANCHESTER GUARDIAN.\nI RECOMMEND PEOPLE WHO ARE INTERES-\nTED IN THE THEATRE TO GET HOLD OF\nTHE MASK.\nFebruary 13. 1924. A. N. M.\nTHE TIMES.\n.... THE MASK FULL OF AMUSING WOOD-\nCUTS AND EQUALLY AMUSING LETTER\nPRESS. May 1924.\nTODAY.\nTHE ONLY MAGAZINE DEALING WITH THE\nTHEATRE WHICH I CAN READ WITH PLEA-\nSURE AND PROFIT. December 1923,\nCURRENT OPINION. U. S. A.\nIT STILL REMAINS THE MOST ARTISTIC\nAND FASCINATING THEATRICAL PUBLICA-\nTION IN THE WORLD.\nTHEATRE ARTS MAGAZINE.\nU. S. A.\nTHE MASK IS REAPPEARING WITH ALL\nITS OLD VIGOR, HUMOR, AUTHORITY AND\nBEAUTY.... May 1924.\nCOUNTRY LIFE.\nTHE APPEARANCE OF THE VOLUME IS\nMOST APPETISING. March 29. 1924.\nGLASGOW NEWS.\nANYONE WITH ANYTHING LIKE A PASSIO-\nNATE INTEREST IN THE THEATRE SHOULD\nHAVE FOUND THE MASK BY THIS TIME\nFOR IT IS IN ITS TENTH VOLUME.\nApril 28. 1924.\nDAILY EXPRESS.\nTHERE IS QUITE A LOT IN IT THAT IS\nSTIMULATING, MUCH THAT IS TRUE, VERY\nMUCH THAT IS BITING IN THIS PUBLICA-\nTION. September 26. 1924.\nGRAPHIC.\nAPART FROM ITS ARTISTIC INTEREST IT\nIS A GOOD INVESTMENT, FOR THE FIRST\n8 VOLUMES, BEGINNING IN 1908, ARE VERY\nRARE. November 10. 1923.\nSPORTING AND DRAMATIC.\nTHE DAY OF THE PIONEERS REPRESENTED\nBV 41 THE MASK \" WILL COME. THE MOVE-\nMENT OF THE THEATRE IS IN THEIR\nDIRECTION.\nAshley Dukes. April 26. 1924."}, {"page_pdf": 75, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.75", "texte": "SELWYN & BLOUNT. LTD.\nDING DONG BELL\nBy Walter de la Mare.\nCrown Bvo. (Postage, 3d.) ss. net.\n\"An odd lovable little book, stamped with its\nauthor's original imagination, and filled with his\nhaunting sense of wonder and beauty\nThe Daily News,\nLIONEL SMYTHEf R. A., R. W. S,\nBis Life and Work.\nBy Rosa M.Whitelawand W. L. Wyllie, R. A.\nDemy Bvo. Cloth. (Postage, 8d ) 13s. net.\nWith numerous reproductions from his pictures.\nA Biography of one of the most distinguished pain-\nters of his day. This first attempt to relate the\nstory of his life abounds with good stories.\nTWO BOOKS ILLUSTRATED\no BY C. LOVAT FRASER. o\nTHE LIAR : A Comedy.\nBy Carlo Goldoni. Translated by Grace\nLovat Fraser. With illustrations by C. Lovat\nFraser, and an Introduction by Gordon Craig.\nFcafi. 4to. (Postage, s<i.) 7s. 6d. net.\nTHE LUTE OF LOVE.\nWith one hundred decorations\nby C. Lovat Fraser.\nFcap. lh<o. (Postage, 2d.) js. 6d. net.\n\" Bound in quaint covers of red and yellow, the\nlittle anthology of old verse is just the thing for\nlovers of all ages Pall Mall Gazette.\nTWO BOOKS ILLUSTRATED\no BY JOHN AUSTEN. o\nTHE AD VENTURES OFHARLEQ UIN\nBy Francis Bickley.\nWith decorations in colour by John Austen.\nDemy Bvo. (Postage, 6d.) 7s. 6d. net.\nAlso an edition de luxe of 230 copies, signed by\nthe artist. (Postage. 6d.) 13s. net.\nPERFECTION\nBy E<;a de Oueiroz. Translated from the\nPortuguese by Charles Marriott.\nWith decorations by John Austen.\nRoyal Bvo. Boards. {Postage, 4d.) 7s. 6d. net.\nAlso an edition de luxe of 230 copies, signed by\nthe artist. (Postage, 41I.) 13s. net\nAll these books can be obtained from a book\nseller or direct from the Publisher ou receipt of\nthe published price plus postage.\nILLUSTRATED AND SPRING\no LISTS ON APPLICATION . o\nLONDON: 21 YORK BUILDINGS.\nADELPHI. W. C. 2.\nIIIHIMIIIWWII 1111\n\nn ~=\nMESSRS.\nHOWELL & TATE\nHAVE PLEASURE IN ANNOUNCING\nTHAT THEY ARE NOW\nTHE LONDON REPRESENTA TIVES\nFOR THE\nWOODCUTS\nOF\nMR. GORDON CRAIG\no\nTHE ST. GEORGE'S GALLERY\n32a GEORGE STREET, HANOVER\nSQUARE\nLONDON W. x.\nTELEPHONE. MAYFAIR 2852.\n\nFOYLE'S BOOK OFFERS.\nEUROPEAN THEORIES OF THE DRAMA\no By BARRETT H. CLARK. o\nAn Anthology of Dramatic Theory and Criticism from\nAristotle to the Present Day, in a series of selected\nTexts, with Comments, Biographies and Bibliographies.\nA Collection of the most significant theories that have\ninfluenced the drama of our own civilization. Will fur-\nnish the reader with an idea of the changes in dramatic\ntechnique as they were gradually introduced from country\nto country and century to century. Over 500 pages.\nPublished at Dollars 3.50 (155.) Bankrupt stock.\nOffered, new, for 5/9 post free, on approval.\nP LAY PICTORIAL.\nWe hold a large and varied stock of this well-known\nperiodical, every copy clean and in good condition. We\noffer: One issue 6d post free. Five issues (in leather\nbinding), 2/6 post free.\nIssues Ito 20 are not included in this offer. Price of\nthese on application.\nON THE ART OF REHEARSAL.\nBy Bernard Shaw, Included in the Arts League of\nService Annual, 1921-22. 1/- post free.\nTHE WAY OF THE WORLD.\nBy Wm. Congreve A Complete Reprint of the First\nEdition (1700) Stiff Paper Covets 1/6. Cloth 2/6.\n(Postage 3d).\nFor any of the above mention offer 232.\nTHAT BOOK YOU WANT ! FOYLE'S CAN SUPPLY IT. IMMENSE\nSTOCK, SECONDHAND AND NEW. CATALOGUES FREE:\nMENTION REQUIREMENTS AND INTERESTS.\nFOYLE'S BOOKLOVERS PARADISE.\n121-125 Charing Cross Road, London, W. C. 2."}, {"page_pdf": 76, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.76", "texte": "T\" L-I 17 Y A QF SOME OF THE SUBJECTS\nl M c ivi r\\ Orv TREATED OF IN THE NEW\n1 RI O O 1 . VOLUMES. VOLUMES IX &X,\nI 9 Z 3 - I y Z 4 ISSUED 1923-192 4.\nHE INTERNATIONAL THEATRE EXIBI-\nW I \\ NAPOLEON AND THE THEATRE, AND\nt O O \\//yz vw THE DECREE OF Moscow.\n/ HVL Mil JF( f/\\( \\ REAL ACTING, OR, CAN THE ACTOR\nWJFF ON THE 154 SONNETS OF SHAKESPEARE.\nTHE THEATRE OF SABBIONETA. -\nWHAT TO DO WITH SHAKESPEARE.\nLA SALLE DES SPECTACLES DES TUI-\nLERIES.\nr\\v NRLJc nccTPMQ THE THEATRE AND THE STATE.\nSOME OF THE DESIGNS ACCA A NEW STAGE LANGUAGE.\nREPRODUCED IN \" THE MASK\" LONDON AND COTTON WOOD.\nMOST OF WHICH APPEAR <<LTHE TEM^TV^'\nFOR THE FIRST TIME IN THKATKK.\nO ANY JOURNAL. O ON UNITY IN THE THEATRE.\nTHE ACTORS' ASSOCIATION.\nAMERICAN CLAP-TRAP.\nTHEATRE CRITICS.\nR ANFITEATRO FLAVIO, ROMA, CAL- REALISM.\nJ[ LED \" IL COLOSSEO \", BY G. B. PI- JACOPONE DA TODI.\nRANESI. / MODERN PLAYWRIGHTS.\nARLECCHINO, BY G. B. MI TELL I, THEATRE BOOKS OF YESTERDAY. AND\n(1634-1718). TODAY.\nFRONTISPIECE OF LA SUPPLICA. THEATRE NEWS AND COMMENTS, ETC.\nPORTRAIT OF FRANCESCO CLERICO,\nBALLET MASTER, 1795. ■\nDESIGN FROM LAMBRANZI, \" BALLI __\nTEATRALI \" 1716. SOME OF THE WRITERS AND\nWOODCUTS OF THE TEATRO PATRIO- DF S If NF R S n\nTICO, MILANO, THE TEATRO CARLO FELICE, ° L/LOIUIMLAD. O\nGENOVA, THE TEATRO ARGENTINA, ROMA,\nIN 1750 IV R I T E R S.\nLI BUFFONI, FROM A \" COMMEDIA\nRIDICOLA OF 1641, A* N» MONKHOUSE, M. F. FLORIAN,\nA STAGE SCENE OF THE ITALIAN A- NASALLI-ROCCA, H. GAY CALVIN,\nSCHOOL OF THE lBth CENTURY. JOHN MASEFIELD, JOHN SEMAR,\nA VIEW OF THE REMAINS OF THE GORDON CRAIG, D. NEVILE LEES,\nTHEATRE OF MARCELLUS, ROME, BY A. L. J- NATHAN, G. B. AMBROSE,\nT. VANDOYER, 1812. JOHN BALANCE, PIERRE RAM&S,\nDESIGNS OF JAPANESE PUPPETS. M« LYKIARDOPOU* E. J. R. ISAACS,\nA SCENE FOR KING LEAR ; WOODCUT, LOS, ALAN CARRIC.\nBY E. GORDON CRAIG.\nTHE \" SPECULATEUR DRAMATIQUE \", DESIGNERS.\nFROM A LITHOGRAPH BY DAUMIER AND\nPHILIPON, 1837. CALLOT, E. T. TAYLOR,\nPORTRAITS OF HENRY IRVING AND BIBIENA, DAUMIER,\nRACHEL. PIRANESI, P. RENOUARD,\nPORTRAIT OF TIBERIO FIORILLI BY SCAMOZZL, DELLA BELLA,\nHABERT. MITELLI,. FILIPON\nMAPS AND DESIGNS ILLUSTRATING GUITTI, * '\nEVELYN'S TOUR. MOREAU, G* STEPHENSON.\nMANY WOODCUTS AND EAD AND TAIL HABERT, A* L- T, VANDOYER,\nPIECES, F. C. MOTTA, E. CARRICK."}, {"page_pdf": 77, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.77", "texte": "a » ■ «1\nTHE MASK\nVOLUME NINE. 1923.\nSOME COPIES OF THIS\n\" VOLUME REMAIN FOR SALE.\nPOPULAR EDITION, (BROCHURE)\n10/- ($ 2.50) POST FREE.\nFINE PAPER EDITION, BOUND,\n20/- ($ 5.O0) POST FREE.\nO\nA \" rich budget crammed full of live\ntheatrical ideas, with something brilliant\non every page \". \" The Referee\nSept. 23, 1923.\n<1 \" It is ever a delight to see it, to handle it,\n■ to read it\". Professor William Rothenstein. I\nRoyal College of Art, S. Kensington, London.\nO\nTHE MASK PUBLISHERS.\nBOX 444. FLORENCE. 'ITALY.\ni~—- ZZZM • a\nm m m\nWANTED.\nCOPIES OF THE FOLLOWING\n■ QUARTERLY PARTS OF c\nTHE MASK.\nO\nVOLUME 2. PART I. JULY 1909.\nVOLUME 4. PARTI. JULY 1911.\no\nPlease address Offers to\n■ ■\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE\nITALY.\na a\n\nTHE MASK\nSINGLE COPY\n2/6\n(65 CENTS)\nPOST FREE.\nO\nIF YO U ARE\nIN LONDON\nTELEPHONE NOW\nFOR A COPY\nOR SUBSCRIPTION\nTO\nKEN SING TON\n6650\nO\nm,\nfISSSB*\n\nTHE DRAMA\nIN EUROPE:\nIN THEORY\nAND PRACTICE.\nBY E. F. JOURDAIN, M. A.\nLATE PRINCIPAL OF ST.\nHUGH'SCOLLEGE, OXFORD.\nWITH ONE ILLUSTRATION\nAND A DIAGRAM.\nCROWN Bvo.\nss. net.\nO\nTHIS BOOK DEALS WITH THE ART\nOF THE DRAMA IN EUROPE IN\nRELATION TO ITS CRAFT, THE\nSTAGING OF PLAYS ; AND COVERS\nTHE PERIOD FROM THE FIFTH\nCENTURY B.C. TO THE PRESENT\nDAY. IT IS HOPED THAT THIS\nHISTORICAL TREATMENT WILL\nENABLE THE STUDENT OF A SPE-\nCIAL DRAMATIC LITERATURE TO\nSEE THE PART TAKEN BY THAT\nLITERATURE IN THE GENERAL\nDEVELOPMENT OF DRAMA IN\nEUROPE.\no\nMETHUEN & Co. LTD.\n36 ESSEX STREET\nLONDON W. C.2.\n\nTHE MASK\nIS NOW\nADVERTISED\nON THE OUTSIDE\nOF NEARLY\nEVERY ITALIAN\nTHEATRE.\nO\nO U R FRIENDS\nTRA FELLING\nIN ITALY\nWILL RECOGNIZE\nOUR SIGN\nIMMEDIATELY.\nO"}, {"page_pdf": 78, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.78", "texte": "a ■ ■ —a m\nTHE MASK\nVOLUME TEN\n1 9 2 4\nHOW TO SUBSCRIBE TO \" THE MASK\nTHERE are two Editions: The limited Special\nEdition on finer paper, with cover for binding\n11 the four quarterly parts: and the Popular Edition. :\nThe Special Edition costs one pound ($ 5.00)\nannually, post free, and only subscriptions for\nthe whole volume are accepted.\nThe Popular Edition costs ten shillings\n($ 2.50) annually post free, and subscriptions\nmay date from any number, although, as THE\nMASK volumes increase in value, Subscribers\nare wise who ensure the completion of each by\nhaving their subscriptions dated from the begin-\nning of the current volume,\nPart 1 volume 10 was issued in January of\nihis year, and that and Part 2 (April) will be\nimmediately sent with the July number to all now\n' entering a subscription for the entire volume. \"\nPopular Edition subscriptions may, however,\ndate from the current number if preferred. Send\nthrough any Bookseller, or any of the Agents named\nV ~ a * on our cover, or directto.\n; No ' \\>T)\n'T H E:jM ASK PUBLISHERS,\no BOX yt 4 4.3 FLORE N C E . ITALY. o\nlW HI M I MM .j l.l> I. L.I. .... ..-.I ..-I. .11 ..Ml1\"'\"\"'\" Wll I 1 ■ ■llll.l 111 I 111 I IW. - I II \" jTQSL"}, {"page_pdf": 79, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.79", "texte": "I'M!\ntill\n\"I\nm\ni\nmriinsTftwrnmnnnw\nI\nC;\nm\n_i\nRN\nFLORENCE\nVIA DEI Fossi, 17\nEH?\nBROCADES\nDAMASKS\nVELVETS\nFOR\nFURNITURE,\nHANGINGS\n&\nCOSTUMES\nOF\nEVERY KIND\nLIS I O\nTESSUTI D'ARTE\n(BEAUTIFUL WOVEN STUFFS)\nMILAN.\nVIA MANZONI, 41\nTHE CITY OF FLORENCE HAS FROM EARLY\nTIMES BEEN CELEBRATED FOR ITS SILKS\nAND DAMASKS AND BROCADES IN RICH CO-\nLOURS AND FINE PATTERNS, PRODUCED BY THE\nRENOWNED ARTE DELL A SETA OR GUILD OF\nSILK, DATING FROM THE EARLY 13TH CENTURY.\nAT THE LISIO LOOMS THESE MATERIALS AND\nDESIGNS ARE BEING REPRODUCED TODAY:\nTHERE SILK AND GOLD AND SILVER THREAD\nARE BEING WOVEN IN THE PATTERNS OF THE\nROBE OF CHARLEMAGNE OR THE MANTLE OF\nGIULIANO DE' MEDICI, OF A DALMATIC OF A\nTHOUSAND YEARS AGO, OR THE FLOWERS\nTRACED BY THE HANDS OF CIMABUE OR\nBOTTICELLI, AND INNUMERABLE OTHER RARE\nAND BEAUTIFUL DESIGNS.\nMANY OF THESE MATERIALS HAVE BEEN\nPURCHASED FOR THE COVENT GARDEN OPERA\nHOUSE, AND FOR LARGE THEATRES IN NEW\nYORK AND IN ALL PARTS OF EUROPE; AND,\nBY THEIR RICH AND BEAUTIFUL DESIGNS,\nTINTS AND TEXTURES, ARE AS WELL ADAPTED\nFOR SUCH PURPOSES AS FOR USE IN PRIVATE\nHOUSES AND FOR THE FASHIONING OF\nBEAUTIFUL COSTUMES. '"}, {"page_pdf": 80, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.80", "texte": "SUBSCRIPTIONS.\nIF YOU FIND ANY DIFFICULTY IN OBTAINING\nTHE MASK WRITE DIRECT TO THE MASK\nPUBLISHERS, BOX 444. FLORENCE, ITALY,\nAND WE WILL SUPPLY YOU IMMEDIATELY.\nSUBSCRIBE NOW FOR VOLUME TEN.\nAND YOU WILL RECEIVE THE NUMBERS ALREADY ISSUED AND THOSE TO COME,\nANNUAL SUBSCRIPTION. POST FREE.\nPOPULAR EDITION.\nShillings. 10. Dollars. 2.50\nSPECIAL EDITION (WITH COVER FOR BINDING)\nShillings. 20. Dollars. 5.00\nORDER VOLUME NINE TO COMPLETE YOUR SET\nPopular Edition, Brochure: 10/— • $ 2.50.\nFine Paper Edition, Bound. 20/— : $ 5.00,\n$\n111\nW\nm\niM\nviis\nJ\niTrM\nj.\n»ni\nr\nTri\nranca\nHritellino.\nFROM THE a BALLI DI SFESSANIA \" BY JACQUES CALLOT,\nONE OF THE MANY DESIGNS REPRODUCED\nIN \" THE MASK \" IN 1923-1924."}, {"page_pdf": 81, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.81", "texte": "THE MASK\nBOX 4 4 4.\nFLORENCE\nITALY."}, {"page_pdf": 82, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192407-01.1.82", "texte": "THE MASK\nIS REGULARLY TO BE FOUND AT THE FOLLOWING BOOKSHOPS.\nLONDON I OXFORD.\nSPECIAL AGENT. M' * 51\nTHE CHELSEA PUBLISHING I\nCOMPANY. j\n16 ROYAL HOSPITAL ROAD PARTS\nCHELSEA. i- i-v ix i u .\nTEL. KENSINGTON SHAKESPEARE & COMPANY.\n6 6 5 g 12 Rue de L Od£on.\nBRENTANO'S.\n.. . ' ' ' ' 37 Avenue de 1'Opera.\nOTHER LONDON\nBOOKSTORES i\nWHERE THE MASK FLORENCE.\nCAN BE SEEN AND Seeber. Via Tornabuoni.\no ORDERED, o 1\nADELPHI. |\nXXI Gallery. 3 Durham House A M ERICA.\nPICCADILLY. NEW YORK.\nHatchards, 187, Piccadilly. Brentano s. 5th Avenue & 27th St.\nCHARING CROSS. ROAD. Sunwise Turn. 51 East 44th St.\nMessrs Danielson, No. 64.- Gotham Bo°k, ,M|rt' West\nMr. F. Henderson, No. 76.— xyr e *\nMr. W. C. Beaumont. No. 75.- Washington Square Bookshop. 27\nWest 8th St.\nPATERNOSIER ROW DramaBookshop.23West47thSt.\nSimpkm, Marshall. Village Book Shop. 4 Christopher St.\nHAMPSTEAD. nncTnM\nThe Everyman Theatre. oOolvJJN.\nTOTTENHAM COURT Rd. Smith & McCance. 5 Ashburton\nInternational Book Shop. Place.\nCHELSEA. CHICAGO\nThe Chelsea Book Club. n , \" ' L AJ\n0_„Krr OTnrrr Brentano s, Wabash near Adams.\nREGLN 1 51REET.\nMr Rees. PHILADELPHIA.\nQUEEN STREET. Centaur Book Shop 1234 Chan-\nMessrs Jones & Evans. celler St.\nTHE MASK MAY BE ORDERED THROUGH ANY BOOKSELLER.\nIF YOU FIND ANY DIFFICULTY IN OBTAINING THE MASK IN ANY\nCITY OR COUNTRY PLEASE WRITE DIRECT TO\nTHE MASK PUBLISHERS\no BOX 444. FLORENCE, ITALY. o"}]}