{"numero_id": "bm-bmtnaau-1924-10-01", "volume": "bmtnaau_1924-10_01", "ocr_sha256": "ab8793967048b6c0b0b5da363a8645282f5c056a9be9375ca47fe455ab101bab", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1924/10_01/bmtnaau_1924-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1924/10_01/bmtnaau_1924-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01", "articles": [{"article_id": "bm-bmtnaau-1924-10-01-c001", "article_bluemountain": "bmtnaau_1924-10_01#c001", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[140]", "page_fin": "[140]", "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=bmtnaau192410-01.2.1", "titre_corps": "A CARICATURE", "titre_sommaire": "A CARICATURE", "signature_source": "MAX BEERBOHM", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "[140]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 574, "texte": "A CARICATURE. MAX BEERBOHM.\nTHEATRICAL MANAGER (LONDON W. C. I) \"VOT ITH ALL THITH MAHTHK?\"\nSee \"The Mask\", July 1924, p. 96,\n\"Not until England chooses to drive away the hundreds of petty somebodies, ceases straining an ear to the mumbling of\n\"certain critics, those poseurs who have kept our Theatre under for these last twenty years, not till then will there be room\n\"for the better workers. Until England clears out the underhand Professional \"manipulators\" and invites the new men\n\"in, the English Theatre will be forced into the background by other European theatres.\""}]}, {"article_id": "bm-bmtnaau-1924-10-01-c002", "article_bluemountain": "bmtnaau_1924-10_01#c002", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "142", "image_debut": 3, "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=bmtnaau192410-01.2.2", "titre_corps": "A STEP IN A NEW DIRECTION", "titre_sommaire": "A STEP IN A NEW DIRECTION", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.3", "debut_caractere": 53, "fin_caractere_exclue": 1424, "texte": "A STEP IN A NEW DIRECTION.\n\nWHEN we read about the building of the Teatro Argen-\ntina (1 732) or the Salle des Tuileries (1 764), or of the\nLincoln-Inn-Fields Theatre (1 660), how few there are of\nus who can see the three places in our mind s eye: how\nfew ever know the position of these playhouses in their respective cities\nof Rome, Paris and London. So that should we ever wish to know\nhow they were reached by theatre-goers of the eighteenth century, who\nlived, say, in the Corso or in the Rue Saint Honore or in Fleet\nStreet, we should have to rely on something more reliable than some\nlucky or unlucky guess work.\nWe all do try to guess the position of the theatres which we read\nabout in Evelyn, Saint Simon, or Goldoni's Memoirs; to guess the look\nand position of the buildings which housed Dr. Johnson, Garrick or\nLe Kain; the apartments which Clairon, La Guimard or Beaumarchaise\ninhabited; the mansions belonging to La Popeliniere, Conte Alessandro\nPepoli or Cardinal Ottoboni, those three amateurs devoted to the Theatre;\nor to discover where exactly was the Teatro de Granari. We should\nlike it if we could trace the road the actors took when they went down\nfrom their houses in Rue du Renard or Rue Tireboudin at six or seven\no'clock, to play their parts at the Comedie Italien, and how long it\nmust have taken them to walk there; or when on April 18th 1734"}, {"page_pdf": 4, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 2118, "texte": "Pier Francesco Biancolelli was buried in the Church of St Sauveur,\nwe like to follow the cortege from his house in Rue Montorgueil.\nWhen we see mentioned the name of the draughtsman-engraver\nMoreau le Jeune, he who recorded so many pretty things about Theatres,\nwe are eager to know where he dwelt; Abraham Bosse and Callot,\ntoo. How long did it take Bosse to get from the Due de Harlay to\nthe Jeu de Paume de la Croix Noire to witness a performance by the\nMoliere troupe? And where was Racine living that day? These and a\nhundred other people's whereabouts we want to know more of: we\ndon't want to read more; we want to look into Paris itself and see.\nAND it is to supply all of us with the means to do this that \"The\nMask \" is going to issue reduced facsimiles of plans of three or\nfour large cities in the eighteenth century.\nIf Racine, Moliere and Bosse were dead before 1 700, their houses,\ntheatres or studios in Paris remained; these and the palaces, houses,\nstreets, lanes, wells and mills known to every Parisian living at that time.\nAnd in supplying everyone with these reduced facsimiles we hope\nthat \"The Mask\" will be providing every student of Theatrical Hi-\nstory with a valuable work.\nBUT more than this.\nThese plans of the big cities are to prove of value not alone to\nstudents of the Theatre, but to students of Architecture, Painting, Music,\nand to Historians of every kind.\nThese plans are very large; and even those who have original co-\npies find them far too large for daily reference. It is like nursing the\ndonkey which tried to play the lap-dog to hold one of these huge fo-\nlios on our work-table. All very well when each plate is framed and\nhangs on a wall, but we cannot be continually leaping up from our\nwork-tables to consult the wall.\nSo we intend to reduce the plans to a practical size, the size of\n\"The Mask\", and publish them entire. This we believe has not been\ndone before.\nThe first plan will consist of thirty full page plates showing the city\nof Rome in 1748. This will appear on January 1st 1925T*\n(1) For further de,tails see announcements at the end of this number.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c003", "article_bluemountain": "bmtnaau_1924-10_01#c003", "volume": "bmtnaau_1924-10_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=bmtnaau192410-01.2.3", "titre_corps": "David Garrick. 1716-1779", "titre_sommaire": "David Garrick. 1716-1779", "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=bmtnaau192410-01.1.5", "debut_caractere": 15, "fin_caractere_exclue": 24, "texte": "Plate 19."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c004", "article_bluemountain": "bmtnaau_1924-10_01#c004", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "160", "image_debut": 7, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.2.4", "titre_corps": "JOHN EVELYN AND THE THEATRE IN ENGLAND, FRANCE, AND ITALY", "titre_sommaire": "JOHN EVELYN AND THE THEATRE IN ENGLAND, FRANCE, AND ITALY", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3087, "texte": "JOHN EVELYN AND THE THEATRE\nIN ENGLAND, FRANCE, AND ITALY.\nBY GORDON CRAIG.\n\nDEDICATED TO THE MEMORY OF CHARLES STUART II.\nPART THREE. AFTER ITALY\n0).\nAFTER a tedious journey, through Swit-\nzerland, during which he was laid up\nfor five weeks with the small-pox, Evelyn\narrives at Paris in October 1646 (a); but\nhe falls sick again in May, loses all his\nclothes and plate, recovers them, sets his\naffections on the daughter of Sir Richard\nBrowne, a knight who had aided him to\nrecover the lost items, and is married to\nher on Thursday, June 27, 1647.\nThen off to England alone, to Hampton\nCourt, \" Where I had the honour to kiss\n*' His Majesty's hand .... he being now in\n\" the power of those execrable villains who\n\" not long after murdered him.\" This has\nlittle to do with the Theatre, except that\nevery good theatre-goer is, one supposes,\nalways a Royalist, and all Royalists, (one\nmay suppose), love and support the theatre.\n9 On Wednesday, February 5th. 1648,\nEvelyn goes to the Cock-pit Theatre.\n5th. February saw a tragi-comedy acted\n\" in the Cock-pit, after there had been\n\" none of these diversions for many years\n£< during the war.\"\nAlready earlier in the year, on Wed-\nnesday, January 22nd., the House of Lords\nand Commons had issued an order \" sup-\npressing all stage-plays, and taking down\nall their boxes, stages and seats, in the\nseveral houses where the said plays are\nusually acted (Collier) ; but nothing had\nhappened until other orders were issued, and\nthe offending performers whipped, or sent\nto the Militia: then the Theatres were si-\nlenced for many a year, in fact until Charles\nthe King was brought back to his kingdom.\nOn Friday, August 28th., Evelyn went\n\" to London .... and saw the celebrated\nfollies of Bartholomew Fair \".\n\" On Thursday, December 1 7th, I heard\n\" an Italian sermon, in the Mercer's Cha-\n\" pel, one Dr. Middleton .... preaching.\"\nI sit with poor Evelyn through this, and\nat every \" perche \" of the preacher, I too\necho \" why \" .... why indeed! Why are\nwe here, Evelyn amidst a lot of moral\nbutchers bent on murdering a King in\nabout a month from now; why are we\nhere to listen to the sweet Italian speech\nused for Puritanical purposes ? They\npreach in Italy, but there the language is\nfierce, or sweet, as when used in opera.\nWhy stay so still in your pew, old friend,\nlistening to those sounds ? In fact, Evelyn\nstays a very short while in pew or in\nLondon. He departs for Paris, getting\nthere in July. One day, in Paris, he\ncrosses the Pont Neuf, (fig. pag. 144) strolls\ndown to the corner of the Rue Harlai\na la Rose Rouge, where dwells and\nworks Abraham Du Bosse, the engraver,\nwho has given us a few designs of actors\ncostumed magnificently, among them the\n' Captain' of the old Comedy.\n\" I went to that excellent engraver, Du\n\" Bosse, for his instruction about some\n'' difficulties in perspective which were deli-\n\n(1) For parts One and Two see July Number,\n(a) In 1646 Stefano della Bella is engraving his view\nof Paris showing the Pont Neuf. So this is precisely to a\nyear how the city looked as Evelyn trots in presumably\non a horse."}, {"page_pdf": 8, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.8", "debut_caractere": 260, "fin_caractere_exclue": 3174, "texte": "vered in his book \". PARIS. DEC. 28. 1649.\nAbraham Du Bosse had, a year pre-\nviously (1648), issued his \" Maniere uni-\nverselle de M. Desargues, pour pratiquer\nla perspective par petit-pied comme le\nGeometral etc. \" It is an octayo in two\nvolumes and contains a very finely en-\ngraved series of plates illustrating the\ntreatise. There is also, by the way, a\nvery remarkable portrait of a M. Michel\nLarcher, a portrait which I always find\nperfect. So full of life, so admirable, the\nsitter; so free from all flourish, the designer.\n\" That is the man I should like most to\nhave make a portrait of me\", is what\nI always feel on looking at the engraving,\na plate of only 5 3/s by 3 V2.\nEarly in the next year, Evelyn is\nlooking at the \" masquerados \", as he calls\nthem, and again his thoughts travel back\nto Italy. Doubtless then, as now, the\nFrench thought they excelled the Italians\nin these matters. Evelyn doesn't. Not\nthat he finds them less fantastic, oh no—\nnot that—but see where he touches the\nvery spot. \" I went to see the masque-\n\" rados, which was very fantastic ; but\n\" nothing so quiet and solemn as I found\nit in Venice\". Eccola! Nothing so\nquiet and solemn as at Venice / A ma-\nsquerade quiet and solemn—how is that\npossible ? Some there are in England\nand America who know about masque-\nrades, who have seen the ' Russian Ballet *\nand have been to the Chelsea Arts' Ball,\nand know that a masquerade cannot be\nquiet and solemn. You and I and Evelyn\ncan hug our delusion to ourselves ; and\nwe shall not even have that delightful\nyoung man, Philippe Monnier, with us.\nHe has written of a later Venice than\nEvelyn saw, and has summed it all up\nas being \" happy Venice — happy ;\nwhat an unhappy choice of a word.\nBut then, the delightful Monnier is one\nwho responds best to all that is happy—\njust happy; and so he dances into Venice,\nand all that dances and sings begins to\nemerge from the dark \" calles \" and little\nnooks, and soon he has collected an im-\nmense crowd of little happy facts around\nhim. These he photographs and calls it\nVenice in the XV111 century. But it is not\nVenice in any century, it is but its cloak.\nTo come to know Italy even as well\nas those who have come a little nearer\nto her, is to learn at least, that, when\nshe laughs and chatters, it is always *' so\nquiet and solemn \" even as Evelyn found\nit in Venice in the XVII century.\nOn Monday, March 20th. he is sur-\nprised by a puppet play. Evelyn sur-\nprised, at all put out, is very fair proof\nthat something was out of place. \" I went\nthis night with my wife to a ball at the\nMarquis de Crevecoeur's, where were\n\" divers Princes, Dukes, and great persons;\nbut what appeared to me very mean was,\nthat it began with a puppet-play \".\nSomething was decidedly wrong with\nthese puppets on this evening, for as a\nrule Evelyn delights in them ; and only\nsome one who has not seen the puppets\nwell performed will say that it was Evelyn"}, {"page_pdf": 9, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3570, "texte": "who was out of joint on this evening, for, as\nwe know, it is impossible to remain surly for\nlong when you can see the puppets dangling.\nOn Saturday, May 6th., he sees the\nKing of France dancing. 44 I attended\n44 the Ambassador to a masque at Court,\n44 where the French King in person danced\n44 five entries; but being engaged in dis-\n44 course, and better entertained with one\n4 4 of the Queen-Regent's Secretaries, I soon\n44 left the entertainment\". Things are out of\njoint with him indeed, and it is clear that\nit was not the puppets who were in fault.\nThe piece in which Louis XIV danced\nfor the first time in public was the 44 Masque\nof Cassandre \", and it was performed in\n1651. Evelyn does not inform us if this\nwas the name. Louis XIV was then thir-\nteen years old, and he continued to appear\non the stage until 1670, dancing in 27 grand\nballets and many intermezzi to the delight of\nthe Court and in accordance with the old\nItalian tradition, which evidently held that\nthe better the doer, the better the deed. But\nEvelyn soon left the room; he is a little\nrestless in Paris. To him, Louis XIV dances\nnot so well as the men in Venice; but\nthen, he is somewhere in the background\nto judge from his own words, some where\nin the shade with a secretary.\nFive days later, he is obliged to attend\nanother Masque at Court. This time the\nMaster of the Ceremonies gets hold of him\nand, giving him a good seat, gets a good\nnotice, as we say nowadays. The follow-\ning is the clipping. 44 To the Palace\nCardinal, where the Master of the Ce-\nremonies placed me to see the Royal\nmasque, or opera. The first scene re-\npresented a chariot of singers composed\nof the rarest voices that could be pro-\ncured, representing Cornaro, and\n44 Temperance; this was overthrown by\n4e Bacchus and his revellers; the rest con-\n44 sisted of several entries, and pageants\n44 of excess, by all the elements. A\n44 Masque representing fire was admirable;\n44 then came a Venus out of the clouds.\n44 The conclusion was an Heaven, whither\n44 all ascended. But the glory of the\n44 Masque was the great persons per-\n44 forming in it, the French King, his\n44 brother Duke of Anjou, with all the\n44 grandees of the Court, the King per-\n44 forming to the admiration of all. The\n4 4 music was twenty-nine violins, vested a\n44 l'antique, but the habits of the Ma-\n44 squers were stupendously rich and glo-\n44 rious PARIS. MAY II, 1651.\nAnd now Evelyn is packing his trunks\nso as to get away from France for ever,\n44 intending no more to go out of En-\ngland \". By Thursday, December 21 st, he\nis booking his ticket, on Monday, January\n29th, 1652, he goes.\nEvelyn's travels have come to an\nend, and he may now become a second\nPepys, as soon as he will. He may\neven forestall him, for Pepys had not yet\nbegun to write his Diary. He may\npotter around and interweave the Pepysian\npatter into his potterings, as he lingers on\nthe street corner to note Nell Gwynne\nimagining that she represents the Theatre;\nunaware that all she represents is a pretty\nvignette to a chapter of the English stage.\nHe may hustle and bustle and get into a\nseat in the pit and see King Charles\nleaning over from his box, and toying\nwith Lady Castlemaine in the next box.\nHe may enter this into his diary and\ncause us to feel that it was all very fine\nin those days in the English Theatre,\nbecause at last the continental trick has\nbeen caught, and can be done any night\n\n(b) Lodovico Cornaro was born in Venice in 1467 :\ndied in Padua in 1566, and wrote his n Discorsi della\nvita sobria n 1558,\n(c) Pepys Diary began 1659, ended 1669."}, {"page_pdf": 10, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3295, "texte": "as well as they do it in those foreign\nparts. In fact, he may become local,\nparochial, as soon as he likes. But\nEvelyn does not like, and so to the end\nhe remains an Englishman quite aware of\nEngland's value, and so, quite unable to\nbe chatty about London.\nEvelyn is thirty-two years old. At\ntwenty one he had begun his travels,\nand now, after eleven delightful years, he\ncomes home, bringing, with him, a good\ndeal that is valuable for his country to use,\nand which it uses.\nHe returns to find the traitor, Crom-\nwell, affecting Kingship, and all England\nsmugly content with the damnable nonsense.\nBut he also returns to speak with those\nwho have decided to stand the nonsense\nno longer. Charles II has been signalled;\nthe good days are coming. England is\nabout to be herself again. Bonfires will\nbe lit; shouts will be raised ; the doors\nof theatres will be flung open again ; some-\nthing splendid will re-enter England,\nbringing with it that larger and more na-\ntural ease on which all her old perfections\nshall sit so well once more.\nBut all that was only a dream; never\nwas it to be. The illusion of it was to\ntake its place for a while; all was to look\nshining, but never again was England to\nbe quite herself.\nTo kill a King is bad, to allow him\nto be killed is worse....\nWhat sort of prowlers, what kind of\ntight-lipped persons, had brought about that\nmost noble Stuart's fall? Who had se-\nvered his kingly head from his royal\nshoulders? Rigid Puritans perhaps, or fierce\nenemies ? No ; false friends. And now,\nthough many of these, so moral, gentlemen\nare dead, others still wait,—prowling in\nthe sun on the highways, or on the\nbench.—Peers and vagabonds, most of them:\nSir Henry This, and Sir Walter That.\nThey wait for Charles the Second.\nThey intend to bring him up, or bring\nhim down. Gadzooks, one would ima-\ngine 'em to be a pack of old women ;\nso keen are they on the educating of this\npiece of humanity, and a King into the\nbargain.\nThey failed to master him; for he\nwas a smart lad, this Charles II ; but\nthey managed for a time to turn his\nEngland into a laughing stock for Europe ;\nand he, in his person, had given them\nsuch a chance as it was never to have\nagain—such a chance in style.\nEvelyn is, before long, writing in\nhis day book, sad things for us to\nread.\nHe seems to me to be more of an\nElizabethan than one of later date, the\nlarger and more ordinary ideas seem to\nbe his.\nBut it is the small and extraordinary\nones which are gaining ground in London;\nand Cromwell's coming and going, in spite\nof his great honesty, did nothing to make\nthings larger.\nThe old -woman instinct, the water-\ndrinking instinct, the hypocritical instinct,\na huge conceit, had begun to creep in\nunder the skin of our men. They would\nnot act and speak like men to their new\ncharge; no, no; they would influence him,\nbring him up, master him, and so wreck\nEngland once more.\nThe present day Theatre steps forward\nand replies for me, with \" Please, this igno-\nramus is right For the Theatre of today\nlikes to bring people up too. It is bringing\nme up.... possibly doing it backwards,\nwho knows.\nI know nothing at all about Charles II\nexcept that he is, and always will be, for\nme, the happy memory he is supposed to\nbe. I know even less about Cromwell,\nbut I know a good .song when I hear it;"}, {"page_pdf": 11, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3487, "texte": "I can tell a good actor before he speaks,\nand I know when I am comfortable; and\nto be in a big room where everyone else\nis at ease, and enioying himself, is to me\nto be in the abode of the gods; and a\ncertain wisdom generally haunts such easy-\ngoing places.\nThe Theatre is made especially for a\nman to be at his ease—to be happy—to see\neveryone else happy.\nThe Theatre, therefore, has a perfect\nright to assert that the writer is speaking\nsense, when he tells you that these old\nwomen-men of England wrecked her again\nin 1660, when Charles came home bent\nupon creating things.\nThe Theatre is not always a brothel,\nin spite of this opinion having been ex-\npressed by the manager of a theatre in\nZola's \" Nana \". But neither is it always\na kind of church with a low pulpit; and\nit is not a place for too much talk.\nIt is magic ground, and it is neutral\nground.\nJust because of this whatever happens\nthere tastes good to the Public,—until the\nPublic comes to question it, inspect it with\ncare as though it were a poison. Left\nalone—stage left alone, workers left alone,\neach spectator left alone, no meddling\nor interference one with the other, or\nany with the ordinary and ancient stage\nand its performers—and you get a great\nTheatre.\nBegin meddling with us, and you render\nit, yourselves, and your nation—ridiculous.\nThis is what the meddling did in 1660;\nwhat it tries to do in 1924.\nFirst of all, Sir Henry Herbert, censor\nof plays and players. If ever I met a\nsmug, money-grabbing piece of virtue,\nwithout any goodness in him, it is Sir Henry\nas Censor and Master of the Revels.\nSir Henry in office, I mean; for, doubtless,\nSir Henry off on a spree, was quite ano-\nther story. At work, at his self-imposed\n(and lucrative) task of curbing the licence\nof naughty persons, Sir Henry was a farce,\nand a dreary one into the bargain.\nThe first person whom he determined\nto curb was his gracious Majesty. Our\nKing thought it would be a pleasant thing\nto restore to the Theatre some of its old\nmagic. He saw himself on this neutral\nground amongst his subjects all enjoying\nthemselves.\nIf he could bring that about, he saw\nthat England would not be half as much\ntrouble to govern, as when everyone was\non edge all the time, always so damned\nformal, in every place, and for every\nreason, formal and stiff and done for.\nSo he favoured the idea of having an\neasy Theatre. Being the man he was, he\nwas the last to want a licentious theatre.\nThe idea was repugnant to him. A man,\nI take it, who liked to see things in their\nright places, he wanted to see the old\nmagic in the Theatre, the old common-\nsense in the Counting House, the old\nvirtue in the Church, and the \" old wo-\nman \" to the devil. Old ladies, old and\nfragile men, these he made provisions for;\ndear old ladies should have houses for no-\nthing; everything should be in its right place.\nBut he admitted by his eye-brows —\nthey twitched surely,—that he was damned\npuzzled that so many old women were\nmanaging his Kingdom and making a mess\nof it; and all through their trying to be\nso infernally conscientious. Taking it for\ngranted that he might do a little managing\nby himself, he granted D'Avenant and\nKillgrew patents to erect two magic\nTheatres.\n\n(d) Not that Sir Henry ever went so far as to enjoy\nhimself; I should hate to imply such a thing. Sir Henry\ncould spree it without happiness—a rare man. \"Isit a\nsin, mother to go and bathe \" 41 No, my child, so long as\nyou dont enjoy yourself\" (Babinworth \"Chronicles:\"\n1914 reprint)."}, {"page_pdf": 12, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 3528, "texte": "D'Avenant and Killgrew have with\nthem the best actor of the age, Thomas\nBetterton. The King, who knows a good\nplate of fruit when he sees it, doesn't he-\nsitate about this group of men. He had\ndoubtless seen better actors in Paris, where\nthe finest Italians were often visitors, but,\nback in England, he picks out our best\nmen with an unerring instinct. Or rather,\nwhen they present themselves, he doesn't\nreject them because they don't look like\npriests and water-drinkers.\nBut Sir Henry Herbert is not going\nto stand it. He has been poking about\nwith a fork in the plate of fruit, and has\ncome upon a scandalous and unheard-of\nthing. One of the apples has a worm\nin it.\nLike never taking very kindly to like,\n(when not pretty), Sir Henry will reject the\nwhole plate because this particular worm\nhas discovered a sweeter lodging than he.\nThis in a few words is practically the\nfirst part of the story of the Restoration\nTheatre.\nAnd see what follows. Sir Henry tells\nthe lackey to \" Put down that plate\nThe lackey does so. The sweet apples,\npears, peaches, grapes, and nuts are now\nalone with Sir Henry and his purpose.\nHe unlocks the drawer of his writing desk,\ntakes a pistol in one hand, rises, approaches\nthe dish of fruit ; without hesitation and\nwith a courage which belongs to the fool-\nhardy alone, he takes the plate of fruit,\nlocks it up in a Spanish cabinet, puts the\nkey in his pocket, and allows it to rot, to\nbreed myriads of worms, to stench the\nwhole of the neighbourhood, and then\ntriumphantly points out its rottenness to\nhis friends and relations.\nThus ends the story of the English\nRestoration Theatre.\nBecause certain idiotic men in England\nhave for years utterly misunderstood the\nwhole nature of the Theatre, and mankind's\nuse for a Theatre, England has been\nalways without a real stage; that price-\nless spot in its neutral ground is built over.\nKillgrew, D'Avenant, Betterton, and King\nCharles were none of them particularly\ninterested in any trifling innovations such\nas actresses, operas, perspective sceneries,\nand the like. But inasmuch as these trifles\noutraged the obstinate soul of Sir Henry\nHerbert and a dozen others, so did the\npack who followed take up their cry: with\nsuch fervour that even ordinary people paused\nto listen and look, and, seeing something\ntroubling, began also to trouble: and\nactresses, in spite of their having been a\nhuge success in Italy, (and a most ordinary\none), become, in London, a scandal. And\nthe actresses had to live up to their new-\ngained English reputation. So with the\nopera and the perspectives, and the other\nnovelties: cried-out-at as though unheard-\nof, they took on unheard-of attitudes.\nInto this kind of England steps Evelyn.\nHe had seen all these excellent things\nabroad; and he returns to find them con-\nsidered eccentric and out-of-place.: placed\nout-of-place by the Educationalists, those\nhard, matter-of-fact, yet perfect, obstinates.\nHe straightway goes to see the works\nof Reeves. This is in 1652 ; but, until\n1659, he has no chance of visiting any\nplay-houses. For the usurper, Oliver\nCromwell, had closed them, and they\ndared not disobey until he died, and the\nnew usurper Richard Cromwell came into\nthe remnants of power. Then the Theatre\nbegins to stir.\nMeantime let us see what in the interim\nEvelyn comes across, which can, to some\nextent, be called of the Theatre. \" I went\n\" to see some workmanship of the admi-\n\" rable artist, Reeves, famous for perspec-\n\" tive (1652) —\" We all dined at\n U G\nCO\nTallow candles\n2200 grains\n16.\n'\n10.7\n7.3\n8.2\n1400\n12.0\nSperm candles. . .\n1740 11\n16.\n9.6\n6.5\n6. 5\n1137\n11.0\n.\nParaffin oil. . .\n992 ■\n16.\n6.2\n4.5\n3.5\n1030\nv\n75 I\nKerosene oil . .\n909 ■\n16.\n5.9\n; j\n4. 1\n3.3\n1030\n7.0\nCoal gas (argand).\n4. 8 cubit ft.\n16.\n5.8\n2.6\n6. 4\n1240\n4.3 |\nCoal gas (Welsbach).\n3.5 11 B\n50.\n1\n4. 1\n1.8\n4 7\n763\n3.0"}, {"page_pdf": 29, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 890, "texte": "And slowly and shame-facedly, the actors\nhad to admit that something was wrong, and\nthey began to stand a little sideways, and at\nlast turned their backs on the audience. \"So\nnatural, .... he even turns his back .... most\noriginal\". Until the gas came no actor had\never been such a booby as to turn his back:\nno actor had ever slipped unperceived on to\nthe stage: no trick was ever considered bad\nform.\nAnd now in 1924 do we want to see gas and\nelectric light replaced by candles and oil ? I\nhardly think so. We must go on,.... but 1 would\neven put the clock back if it could bring back\nagain the old confidence of the actor in his\ngreat theatrical tricks which have been driven\nout by trivial ones.\nFor as our Irish poet has told us, \" All\nart is a trick\".\nLet us have great tricks then, while we\nare about it, for the trivial apologetic trickery\nof the London stage of 1924 is now a bore."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c013", "article_bluemountain": "bmtnaau_1924-10_01#c013", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "164", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.2.9.1", "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": 28, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.28", "debut_caractere": 2543, "fin_caractere_exclue": 3055, "texte": "Quantity\nconsumed\nper hour\nThe\ncandle power\nO removed\ncubit feet\nOr produced\ncubit feet\nMoisture\nproduced\ncubit feet\nHeat\nproduced\ncalories\nG\ncoo\n2 ~ £\n(Q cd &\n•£ G\ncr\n> U G\nCO\nTallow candles\n2200 grains\n16.\n'\n10.7\n7.3\n8.2\n1400\n12.0\nSperm candles. . .\n1740 11\n16.\n9.6\n6.5\n6. 5\n1137\n11.0\n.\nParaffin oil. . .\n992 ■\n16.\n6.2\n4.5\n3.5\n1030\nv\n75 I\nKerosene oil . .\n909 ■\n16.\n5.9\n; j\n4. 1\n3.3\n1030\n7.0\nCoal gas (argand).\n4. 8 cubit ft.\n16.\n5.8\n2.6\n6. 4\n1240\n4.3 |\nCoal gas (Welsbach).\n3.5 11 B\n50.\n1\n4. 1\n1.8\n4 7\n763\n3.0"}]}, {"article_id": "bm-bmtnaau-1924-10-01-c014", "article_bluemountain": "bmtnaau_1924-10_01#c014", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "167", "image_debut": 29, "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=bmtnaau192410-01.2.10", "titre_corps": "THE AIR AND THE AUDIENCE : CONSIDERATIONS ON THE ATMOSPHERIC INFLUENCES OF THEATRES", "titre_sommaire": "THE AIR AND THE AUDIENCE : CONSIDERATIONS ON THE ATMOSPHERIC INFLUENCES OF THEATRES", "signature_source": "WILKIE COLLINS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.29", "debut_caractere": 892, "fin_caractere_exclue": 4301, "texte": "THE AIR AND THE AUDIENCE.\nCONSIDERATIONS ON THE\nATMOSPHERIC INFLUENCES OF\nTHEATRES.\nBY WILKIE COLLINS.\nWRITTEN IN 1881-1882\n(1).\nI.\nTHE treatment of this immense subject is\nperhaps a little irregular. It assumes the\nform of a question, in the first place.\nIs it in the pecuniary interests of a ma-\nnager to consult the health and comfort of his\naudience, by improving the atmosph ere of his\ntheatre ? or, to put it in plainer language still:\nIf the announcement of two theatres—one of\nwhich is cool and clean, and the other hot\nand dirty —happen to present nearly equal\ndramatic attractions, how many persons, in\ndoubt which place of amusement to prefer,\nwill allow the consideration of sitting at ease,\nin breathable air, to influence their decision?\nNot one in a hundred.\nOn the sixth of April last, (1881)\nMr. Steele Mackaye, author of the most po-\npular play thus far written by an American\ndramatist (\" Hazel Kirke\") opened a new\ntheatre in New York. Already indebted to\nthis gentleman's exertions, not only as a writer\nbut as an actor, his countrymen have now to\nthank him for a public service of another kind.\nHe is builder and manager of one of the most\nluxurious places of public amusement in the\nworld.\nAmong other ingenious inventions, which\nit is not necessary to mention in this place,\nhe has contrived to associate an evening at\nthe theatre with the sanitary results of a visit\nto the seaside. This lucky audience breathe\n\" ozoned air\"; and are helped to enjoy it\nby means of folding chairs, arranged for them\nin groups of three and four so that they cannot\nbe troubled by persons pushing by, on the\nway to vacant seats. Have these novelties, and\nmany more all directly contributing to public\nhealth, public comfort, and public pleasure,\nhelped to draw large audiences on their own\nmerits ? The last accounts which have reached\nEngland state that the new play written by\nMr. Mackaye for the opening of his theatre\nhas not yet met with the appreciations which\nit deserves. What has the new ventilation\n(not forgetting the comfortable seats and the\nbeautiful theatre) done towards tempting the\npublic to judge for themselves of the merits\nof the play? Little or nothing. Pure air has\nnot, as it seems, sufficiently interested the au-\ndience to make them talk about it. The\nfriends of the manager urge him to increase\nthe number of his advertisements, and to\nmention particularly that he is the author of\n\" Hazel Kirke \". In short he appears to be\nin just as much need of getting all the help\nto notoriety that money can buy, as if he was\nproprietor of the hottest and dirtiest theatre on\nthe face of the civilized earth.\nIn a city on the other side of the Atlantic\n—let me not say particularly in what part of\nEurope that city may be found—is a theatre\nwhich makes no new concession of any sort\nto the public comfort. This place of amuse-\nment has been crammed from floor to cei-\nling for hundreds of nights past and will be\ncrammed for hundreds of nights more. No-\nbody who wants to see the popular play of the\nmoment is kept away by the horrid atmosphere\nor the uncomfortable seats. No cries for\nmore air or more room rise from the perspi-\nring and aching audience. While they have\ngot what they want on the stage, the manager\nis at perfect liberty to deprive them of the\nblessings of ventilation in the theatre.\n\n(1) In punctuation and all else the manuscript has\nbeen followed without revision"}, {"page_pdf": 30, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4360, "texte": "And what is the moral of this?\nThe moral is, that we must consider the\nexisting case of our lungs and our skins, in\nthe air of the theatre, without much hope of\nany general change for the better. The truth\nis that we offer no encouragement to reform.\nDo the two or three theatres in London which\nhave generously given us the pure electric\nlight, empty the other theatres which econo-\nmically persist in poisoning us with gas? only\nlet those other theatres provide us with our\nfavourite laugh and cur delightful vulgarity—\nand they may give us any air or no air just\nas they like.\nII.\nTHE prospects of improvement in ventila-\ntion being now disposed of, consideration\nof the theatrical atmosphere, as it is at present,\nclaims its turn next.\nSensible invalides who have to take a\ndose of physic never add to the terrors of\nthe prospect by dallying with the bottle, and\nthinking how nasty it looks. They spare\nthemselves an interval of disgust—and swallow\nthe detestable mixture before they have time\nto feel sick.\nWhat scientific knowledge has to say\nabout the air that we breathe in theatres is\nour moral dose of physic, at the present mo-\nment. Let us get rid of it at once—as plea-\nsantly as possible.\nYou and 1 are at the theatre. Towards\nthe latter part of the performance, we wipe\nour streaming face; and you say to me, \" Hot,\nisn't it?\" and 1 cordially agree with you.\nIf we were not two ignorant playgoers, we\nshould express ourselves more accurately.\nYou would remind me that we want a cer-\ntain quantity of oxygen in the air that we\nbreathe. And I should reply, \" Yes indeed,\nmy friend. For the last two hours we have\nbeen engaged (assisted by the gaslights) in\nmadly exhausting our oxygen, and in sup-\nplying its place with a vile infusion of carbon,\nwhich would end in suffocating us if the per-\nformances only lasted long enough.\" And if—\nappalled by the prospect—I happened to stop\nthere, who would be happier to refresh the\nscientific side of my memory than my com-\npanion. \" Dont forget \", this intelligent person\nwould add, \" that there is another, and a\nmore horribly vitiated atmosphere, which we\nare also making for ourselves. Minute par-\ntides, dear boy, are being ' given off' by\nus and by our perspiring fellow creatures.\nWe are inhaling, each other's particles. And,\nworse still, if there happen to be any play-\ngoers of consumptive tendency present, their\nparticles may be actually charged with disease,\nand may sow the seeds that results in the\nfuture on which (as we are here for our\npleasure) we had better not dwell. Shall we\nstay for the last piece? or shall we adjourn—? \"\nI take my friend's arm, and hurry away\nwith him before he can finish his sentence.\nI know what he means.\nThe system of Nature is a system of com-\npensations. All mortal evils have their at-\ntendant remedies. In the horrid tropics, the\nvenemous serpent glides to attack us over the\nvery herbs which preserve our lives from the\npoison of his fangs. In our happier tempe-\nrate zone, the theatre (and its destructive\natmosphere) is the near neighbour of the pre-\nservative shell-fish shop, and the remedial\npublic house. Does the man live who can\nhonestly say that he has ever enjoyed oysters\nand stout as he enjoys them after leaving the\ntheatre? How does the great master of fic-\ntion write of his visit to his friend Terry at\nthe old Adelphi? \" I was glad to see Dan's\ntheatre as full seemingly as it could hold.\nThe heat was dreadful.... We had rare good\nporter and oysters after the play \". Rare and\ngood Walter Scott! Happy, thrice happy\nprovisions of Nature, which poisons us in the\ntheatre, and brings us to life again by the\ngenial agency of an oyster knife and a\npewter pot!\nIII.\nIS this flippant? In that case let us go to\nthe other extreme, and make a few sen-\nsible remarks.\nExperienced playgoers have often observed\nthe curious difference in the effect produced\non the temper of an audience, when a theatre\nis too hot and when a theatre is too cold.\nIn the first case—infinitely the worst case of\nthe two—the semi-suffocated public not only\nsubmits with admirable resignation, but if the\nplay happens to present an interesting story,\nbecomes absolutely insensible to discomfort,\nand utterly oblivious of the small maladies\nunder which it suffers at home. On these\noccasions, the tremendous silence of a crowd\nof human beings mastered by one supreme"}, {"page_pdf": 31, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 3895, "texte": "interest which holds them in thrall, is never\ndisturbed by the cough which certain mem-\nbers of the assembly have brought with them\ninto the theatre, and have indulged in freely\nwhile the proceedings have been opened by\nperformance of the overture. But the play\nhas begun; the story is rising, through an\nartful succession of scenes, to its climax of\ninterest. Fhe ladies, who have been looking\ndisparagingly at each others dresses, are all\nlooking at the stage now; and the people in\nthe pit, without room to sit in, sit contented\nnevertheless. Under those conditions the\nauthor carries his sweet tempered public with\nhim; and the actors increase the enormous\ncirculation of their photographs when the shops\nopen the next morning.\nBut let the circumstances be completely\naltered; let the season be late in the autumn,\nand the theatre be subject to a cool flow of\nair. If they feel the blessed change disa-\ngreably, the women have their mantles, the\nmen have their, great coats. Protected in this\nway, do they appreciate the reviving purity\nof an atmosphere which deodorizes the ema-\nnations from gas and from the not universally-\nwashed public that sits in its light. Far from\nit. With rare exceptions, the audience is out\nof temper. Nothing will rouse their interest;\nnothing will win their applause. No excel-\nlence of dramatic writing, no exhibition among\nthe actors of perfect art, will charm away the\nungrateful distrust of fresh air, the meanly\nneedless dread of catching cold, which has\ngot posssession of men and women alike. The\ntheatre which prospers, at the cool period of\nthe year, must be heated to the summer tem-\nperature; and be rigourously careful never to\nhave a door open, from top to bottom of the\nbuilding, while the performance is in pro-\ngress. Is this exaggeration? When you are\nout in the streets, at a late hour look up at\nthe bedroom windows, and see for yourself\nhow many of them are raised, even by an inch\nor two, to let in the favourite object this\npublic dreads—night air.\nIV.\nAMONG other curious influences exercised\nby the theatrical atmosphere, want of\nsufficient oxygen seems (in certain remarka-\nble cases) to end in want of sufficient me-\nmory.\nFor example, those distinguished playgoers\nwho use their pens to lament over the con-\ndition of the modern English Drama, appear\nto be all affected by that melancholy object\nof contemplation in one and the same manner.\nCondemning with excellent reason, the wret-\nched average of theatrical entertainments offered\nto our public, they are all unable to remember\nthe production—say, during the last thirty\nyears —of a single genuine English work\nwhich has been a creditable example of the\nart of dramatic writing. Setting aside living\nnames, is it just, is it even honest — after\nventing righteous indignation on loathsome\nburlesques and idiotic adaptations from the\nFrench —to pass over the hopeful signs in\nthe past which justify hope in the future;\nand to leave without a word of notice\nsuch original English plays as the \" Masks\nand Faces of Charles Reade and Tom\nTaylor — the Comedies of Robertson — and\nthe \" Our Boys \" of Mr. Byron, which has\nlived through the longest \" run \" on record,\nand has achieved the rare honours of foreign\ntranslation and foreign performance. It is im-\npossible to imagine that men, bound in justice\nto present both sides of the question fairly,\ncan have wilfully suppressed notorious exam-\nples of good dramatic writing which speak\nfor themselves. The one other alternative is\nto suppose a remarkable failure of memory,\nand to hold the absence of oxygen accountable\nfor it.\nV.\nTHE end that comes to all things, big or little,\nmust come even to such harmless gossip\nas this. Having shown that the air of the\ntheatre is decidedly injurious to people who\nbreathe it, have I in conclusion any further\nsuggestions to make ? Only one—which is\nsure to please you. Let us go to the play."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c016", "article_bluemountain": "bmtnaau_1924-10_01#c016", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "170", "image_debut": 32, "image_fin": 34, "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=bmtnaau192410-01.2.11", "titre_corps": "THE PRETTY THEATRE", "titre_sommaire": "THE PRETTY THEATRE", "signature_source": "X. Y. Z", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4071, "texte": "THE PRETTY\nTHEATRE\n\nTHE Profession of an actor was infamous\namong the Romans and honourable among\nthe Greeks.How is it with us? We think.\nthem as the Romans did, and live with them\nas the Greeks.\n\"Morals and Manners of the 17t!l century. —\nLa Bruyere, 1688.\nOVERTURE\nI have been speaking with the Editor of\n\"The Mask\" about his policy, (if that\nbe* what the steps, hopeful slips or fatal\nstumblings of any Editor be called), and I\nfear I may have put him into a rage by my\nimpertinence in imagining that an Editor is\nhuman and can slip and stumble as do\nStatesmen, Divines, or ordinary woodcutters.\n\"You are \", I began, a very remar-\nkable man, my dear Semar \" ....he did not\ninterrupt me .... \" and you are evidently self-\ntaught \" I went on.\nHere he shifted in his chair, uncertain\nwhether this meant what he hoped or what\nhe feared.\n\" Like every great Editor who has pre-\nceeded you \" (you could have heard a pin\ndrop) you are obstinate \". (a)\n\" And\", I went on, \" when you are\nobstinate you are blind to a hundred en-\nchanting trivialities in the world of the Theatre\nwhich complete that world and make it what\nIt IS .\n\" Name one ' said Semar.\n\" Prettiness \" I said.\n\" Prettiness!\" he cried, and I could see\nhis mind rapidly searching the ten volumes\nof \" The Mask \" for proof that I was wrong.\n\" I do not think \" The Mask \" has failed to\npublish essays and illustrations which exhibit\nprettiness\" said he rising and taking down\nvolume I. \" Look at this to begin with\"\n....and he pointed to a full page drawing of\nMiss Isadora Duncan.\nSemar is a terrible man; he is always able\nto find the needle in the bundle of hay, and\nimmediately. I had to admit that this indeed\nwas pretty, though I refused to argue that it\nwas more than that, for 1 knew that Semar's\ndeft finger had come across the sole needle\nin the pack. \" Yes, that is pretty\" I ad-\nmitted; \"show me something else\".\nAnd here Semar's obstinacy rose to the\noccasion. With a daring I have seldom\nencountered in anyone before, he had the firm\naudacity to turn leaf after leaf of \" The\nMask \" with a \" this \" to that page and a\n\" there \" to another.\nThe fight was over before it began, and\nyet he stood his ground. He pointed to the\nfifteenth century wood-engravings out of the\n\" Sacre Rappresentazioni \" and called these\n\" pretty \" : he turned to Volume IV, Page 97,\nand said the \" Geishas dancing \" were pretty:\nhe overlooked the colour-plate by Albert Ru-\ntherston on page 80 which has prettiness,\nand I began to breathe again; but he wanted\nto take me through volume after volume, so\nI protested I had had enough.\n\" You admit then that \" The Mask \" is\npacked with pretty things \" he said: and he\nwas triumphant in the quiet way of the ob-\nstinate.\n\" Charming in a queer, eccentric or gro-\ntesque way\" I said; \" delightful to those\nwho study the Theatre seriously as you do;\nbut to the world—the large world—as dead\nas a door-nail: dry stuff from the archives\".\n\" These dead and dry things \" he said\nreproachfully \" you helped me to pick out as\nof the utmost interest to our readers \".\nHe had me there. It was true. He\nfollowed it up with, \" and when I suggested\nthat some photographs of leading actors and\nactresses would be attractive you were not\ntoo polite about it\".\nThe rest of our conversation I will not\nprint.\nIt carried on for a day or two. In the\nend I was utterly routed: although the full\nforce of my very-much-admired Editor had\n\n(a) Edmund Kean when expressing obstinacy was\nwont to shut firmly his eyes and mouth, \" squeezing his\nbrows and eyelids tight\" writes Mr. Gillicudy in his\n\"Treatise on the Acting of the Elder Kean\" (1859).\n4• A damned determination not to see was what he ex-\npressed \" (idem); and though I have never seen my editor\ncontort his face in this way (thereby proving that Edmund\nKean's as an artist was utterly untrue to nature) I have\nnoted that he carries on most entertainingly when deter-\nmined neither to hear, believe or tolerate any suggestion\nwhatever. I cannot feel' that I am as entertaining when I ex-\npress obstinacy, though surely I am every bit as blind."}, {"page_pdf": 33, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4151, "texte": "been unable in ten years to bring more than\na touch of the really pretty into the pages of\n\" The Mask \", he persuaded me that all his\nlife he had known of its existence, and had\nalways very greatly longed to bring nume-\nrous examples before the readers of this ma-\ngazine.\n€J So i perceive that it is my fault for\nhaving, as an enthusiastic assistant, even, may\nI say, as a collaborator, counselled against\nany intrusion of the pretty into these pages.\nI would like to make up for this by\ncoming to Miss Hetty Hecuba right away.\nTHE SWEETLY PRETTY\nWHAT is the Pretty,—how born—why pre-\nserved—what its philosophy and its aim,\n....all this and more besides I must leave to\nwiser men to set forth. If they have already\ndone so it has been well done, for there is\nmore to be said about this trifle than we ever\nsuspect.\nBut my only intention is to make a note\nor two upon the prettiness which exhales\nfrom the Theatre.\nIf in Music and in Architecture, and\ntheir handmaids Painting and Sculpture, pret-\ntiness be a rather cheap thing, ....as I heard\nmany in 1890 saying ....I have come to learn\nthat in the Theatre prettiness has a place and\nwe should see that it be kept.\nfit is in the artifice of the Theatre that we\nmust look to find what is often very pretty.\nIf there was, as we have been told, a \" noble\nartificiality \" which belonged to the old times\nand which now and again we may even catch\na glimpse of today, it is not of this I wish to\nwrite, but only of the sweetly pretty.\n€J Nowhere perhaps is the sweetly pretty\nquite in its right place except on the stage.\nIt must be admitted that we find some of it in\npainting even Watteau is sweet and pretty.\nHe is something a good deal more than that,\nbut he is pretty too. In Literature we find\nit; Voltaire's ' Candide' for some of us\nsparkles with prettiness.\nIt is only a little thing, this sweet pretti-\nness; yet this little thing has at times annexed\na large share of our attention, we who have\nused our Theatres as pleasant places in which\nto divert our thoughts in times of stress from\nduller and more weighty matters.\nAnd so it has been a good thing for\nmany thousands of people for many a century.\nAnd that \" The Mask \" should have for-\ngotten all this, should have found nothing to\nsay about the Pretty side of the Theatre,\neither proves that everyone in The Mask \"\nwas blind to it or blinded by it. We\nwere dull indeed not to have shown by\nmeans of the engravings of those prettier\ntimes, or even (to echo my Editor) perhaps\nby a few photographs of our still daintier days,\nhow large a part the sweet has played in\nthe Theatre at all times.\nThere is a certain prejudice against the\npretty ....there has often been a revolt against\nit amongst the artists—thank goodness not\nalways or we should not have this miracle\nof prettiness by Moreau and Patas \" La Loge\na l'opera \" to look and wonder at. It is this\ndesign I pick out of many to show off the\nPretty of those times at its best.\nWithin these few inches vibrates the es-\nsence of the lighter theatre of the eighteenth\ncentury.\nThere sits the Due d'Orleans, or do I\ndream ? if not, there too is Mademoiselle\nDuthe standing in spreadeagle poise about to\nswoop;—behind her the mighty Madam Mon-\ntansier advising, encouraging: a nonentity sits\nin the chair facing Mons. le Due. In the\nbalcony with their mouths agape sit Miss\nFanny and Miss Hetty Burney but recently\ncome to Paris. Mr Young the farmer is close\nto them, and dear old Dr. Burney listens to\nthe singers hidden to us, silent to us. Nothing\npretty back there:—all the prettiness is in\nthis Loge.\nLet our imagination toga the figures and\nwe shall get the same theatre of the first\ncentury ... just as pretty: we must some day\nsee if we cannot find almost as graceful a\nthing in each century to reprint in \" The\nMask \", for it must not be said any longer\nthat we forget the pretty.\n€J How often when I was living in London\nin 1890 did I hear artists saying hard things\nabout this same prettiness in art ... as though\nugliness, the austere, the superb, and even\nthe noble which abounds everywhere, had\nalways been the sole food of the gods, and\nconsequently to be your sole food."}, {"page_pdf": 34, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 3438, "texte": "As it was in the eighteenth century that\nprettiness came to be valued again at its full\nworth ....and a little more, it is an eighteenth\ncentury engraving of a pretty in a pretty\ntheatre, of the pretty town of Paris, that I\nbring you in my hand and lay before us as\nI speak.\nI could have brought a far more ancient |\ndocument proving how the pretty was thought\nwell of in Pompeii or Thebes many centu-\nries earlier ....or some strange drawing on silk\nfrom China, or a curious little Indian painting.\nBut we know our Paris a little better\nthan our Pompeii, or their Poonab or Poo-\nwang and we see what our Paris has become\ntoday. We are living in rather an ugly age\nand 1777 is not too far off for us still to\ncatch a glance of it before it fades, and to\nnote how pretty and how real were the\npuppets as they stood dallying in those days.\n\"It is the journalist's business\" writes\nLa Bruyere, \" to inform us that a certain\nbook is published, and by whom; to describe\nit and its style and character and say where\nit can be bought. It is foolishness in him to\nmake any criticism of it\".\nSo I shall come to the eighteenth century\nTheatre as an ordinary journalist, retelling\nmyself something about the prettiness of the\nOpera and Theatre, of Les Filles, of the\nspectators, actresses, scenes, and the tinkling\nmusic: showing by engravings here and there\njust how ' jolie * was Mile Du The, how 4 ra-\nvisante ' Mile. Virginie, Mile. Laguerre and\nMile. Bourgoin and how sweet the back-\nground against which they were placed: how\npretty the gallant gentlemen of their times\nfound everything on the stage (when they\ntroubled to look at it) from their private loges\nin their private theatres or from afar.\nBeginning not at the beginning but with\nthe first thing to hand, with Monsieur J. M.\nMoreau le Jeune and his \" La Loge a 1'opera '\nengraved by Patas, I shall not be too parti-\ncular about my progress; it must be the\nrake's I fear—I shall go zig-zag, on this broad\npath, here and now in Paris, perhaps to-\nmorrow towards Rouen and back, who knows,\nin the direction of London the next morning.\nI shall not moralize ....nor take what is\ncharming to be beautiful; but I want to do\njustice in \" The Mask\" to what has been\nslighted. So I cannot do better than reprint\na number of facts about the pretty theatre\nand a number of engravings which show us\nhow pretty it has been.\nAnd in doing so it will be impossible to\navoid drawing attention once more to those fasci-\nnating people the actresses, dancers, singers and\nlady-spectators who once practically ruled the\nstage. And amongst these will figure a few re-\nmarkable if less pretty women who are insepa-\nrable from the others: ....Madame Montansier,\nMile. Raucourt, (both of them directresses);\nSophie Arnould, La Guimard, and even\nEmma Hart. Isabella Andreini, Fragonard\nand Moreau ; the chandeliers in the theatres\nof Rome, and the Private theatres in several\nlands.\n|All these things certainly did conspire\ntowards prettiness, and all seemed fitting.\nYou may like prettiness or you may not:\nyou may wear yours with a difference: ....one\nthing which strikes me is that while it was\nand is not always as unnecessary as too many\nan artist today pretends to think, it was once\nor twice perhaps rather out of place in the\nparticular spot where it chose to nestle.\nBut I will leave it to you to decide where\nand when it was out of place. I shall merely\nmake a few records.\nTo be continued.\n\nX. Y. Z."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c018", "article_bluemountain": "bmtnaau_1924-10_01#c018", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "image_debut": 34, "image_fin": 34, "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=bmtnaau192410-01.2.12", "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": 34, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.34", "debut_caractere": 3440, "fin_caractere_exclue": 4090, "texte": "IT was enough for Balyllus to be a clown, to\nbe run after by the Roman ladies, for Rhoe,\nto be a ballet-dancer, and for Roscia and Nerina\nto sing in the chorus, to attract a crowd of\nadmirers. Self'Conceit and boldness, the result of\ntoo much power, had deprived the Romans of\nall taste for secrecy and mystery : They enjoyed\nmakinq the theatre the scene of their love making :\nThey had no jealousy of the amphitheatre, nor\nof sharing the charms of their mistress with\nthe multitude ; their pleasure lay in showing\nthey lovea not a beauty, or even an\nexcellent actress, but an actress.\n\" Morals and Manners of the\nseventeenth Century\nLa Bruycre 1688."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c020", "article_bluemountain": "bmtnaau_1924-10_01#c020", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 35, "image_fin": 35, "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=bmtnaau192410-01.2.13", "titre_corps": "LA LOGE A L'OPERA", "titre_sommaire": "LA LOGE A L'OPERA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 128, "texte": "LA LOGE A L'OPERA.\nDesign by J. M. Moreau, le jeune. (1741-1814), engraved by Patas (1748-1817) between 1775 and 1783.\nPlate 20."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c021", "article_bluemountain": "bmtnaau_1924-10_01#c021", "volume": "bmtnaau_1924-10_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": 37, "image_fin": 37, "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=bmtnaau192410-01.2.14", "titre_corps": "TEATRO ROMANO. VERONA 1549", "titre_sommaire": "TEATRO ROMANO. VERONA 1549", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 1175, "texte": "\"When the Marquis Maffei was at Mr Pope's at Twickenham, the latter showed\n\"him the design of an Ancient Theatre at Verona. The Marquis said the artist had\n\"done very well, but that it was all a whim (Favola) ; Mr Pope begged his pardon,\n\"assured him that 'twas a reality; and convinced him that it was so, from an allowed\nif old writer on the Antiquities of Verona Spence's Anecdotes. (1820).\nWhy Mr Pope should have troubled to discuss this matter with a man so utterly out\nof touch with Twickenham as Scipione Maffei, a man who lived far away in Verona,\nwe shall never know. How confused Maffei must have been, ...he, the author of\n\"Verona illustrata only one volume of which is devoted to Anhteatru It is said that\nthe Marquis, greatly humbled on perceiving his ignorance, asked Mr Pope to tell\nhim whether the fable of Jutiet's tomb was in like manner a reality. Assuredly,\nSir rapped out Mr Pope: the historian adds, that i( he convinced the Marquis of the\ntruth of this by reading him the first act of the Shakespearean play The Marquis\nthen admitted that he needed no further proo , Of although Mr Pope was perfectly\nwilling to tead the four remaining acts.\nPage 171."}]}, {"article_id": "bm-bmtnaau-1924-10-01-c022", "article_bluemountain": "bmtnaau_1924-10_01#c022", "volume": "bmtnaau_1924-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "177", "image_debut": 39, "image_fin": 43, "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=bmtnaau192410-01.2.15", "titre_corps": "THEATRE, ENTERTAINMENT AND EXPERIMENT : SOME QUESTIONS by J.K.", "titre_sommaire": "THEATRE, ENTERTAINMENT AND EXPERIMENT : SOME QUESTIONS by J.K.", "signature_source": "J. K", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192410-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4224, "texte": "THEATRE, ENTERTAINMENT\nAND EXPERIMENT.\nSOME QUESTIONS\nBY J. K.\nIT is continually being pointed out in every\njournal in Europe and the United States\nof America by every competent authority in\nevery Salon and in every Cafe, in every\nClub and in every Public House, that in the\nTheatre we really do not want anything at\nall highbrow: Let us have tommy-rot if you\nlike; we can stomach that, but no High-\nbrow rubbish.\n€J Surely a sound enough taste.\nI go to a Theatre whenever i have time;\nwhen not to a Theatre to a Circus or a Cafe\nchantant; when not to these to a Cinema.\nFor I belong to those who hold that the\nTheatre is to entertain; and I write this from\nthat point of view which is the popular point\nof view, and for the moment I cannot consi-\nder the question of Theatre from any other\npoint of view.\n