{"numero_id": "bm-bmtnaau-1925-04-01", "volume": "bmtnaau_1925-04_01", "ocr_sha256": "db458ccd4833aa7210d87bc32f7109bb1c4f02c5829a0992975a932d4c4553ee", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1925/04_01/bmtnaau_1925-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1925/04_01/bmtnaau_1925-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01", "articles": [{"article_id": "bm-bmtnaau-1925-04-01-c001", "article_bluemountain": "bmtnaau_1925-04_01#c001", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[52]", "page_fin": "[52]", "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=bmtnaau192504-01.2.1", "titre_corps": "FROM A DRAWING BY OUIDA", "titre_sommaire": "FROM A DRAWING BY OUIDA", "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": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 33, "texte": "FROM A DRAWING BY OUIDA.\nPlate 4."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c002", "article_bluemountain": "bmtnaau_1925-04_01#c002", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "54", "image_debut": 5, "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=bmtnaau192504-01.2.2", "titre_corps": "UNIVERSITY AND STAGE", "titre_sommaire": "UNIVERSITY AND STAGE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.5", "debut_caractere": 17, "fin_caractere_exclue": 1424, "texte": "UNIVERSITY AND STAGE.\n\nWHY should not there be cooperation twixt University\nand Stage ? We can see nothing and no one to prevent\nit except the over-obvious popular favourites of the English\nStage and the dreaming section of the University.\nMr Allardy ce Nicoll makes a wise plea for such a union in this\nnumber of \" The Mask \" and no one is going to pooh-pooh the sound\nnotion just because some of Mr Nicoll's statements do not tally with their\n\"no one's \" views. What matter the details, why bother whether\niTlschylus and Sophocles were produced by the audiences of the Thea-\ntres or vice versa: what matter if some of us think that we have already\nhad too much of \"a strong body of cultured opinion.... self-consciously\nasserting itself\". The main thing is that cooperation should be strong\nenough to unite the Universities with all the arts and sciences.\nSome will say (Captain Marryat assuredly would) that, like Equality,\ncooperation is an Ideal, is an illusion and has never existed except in\nbusiness. What of that. It's probably time for it to exist without more ado.\n\" Let the artist come into the University\" says Mr Nicoll. But\neven if he find the door and knock he may not hear the expected\nanswer \" Come in \"; or should he hear it and go in may find no life\nsuch as he has left where all is based on living and letting others live,\non courtesy and welcome to all people, all things—life itself."}, {"page_pdf": 6, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 2226, "texte": "The world teaches a few ancient things—the things which count: the\nuniversities may have not forgotten these.\nWe ourselves have no knowledge of any Universities; but if men in\nthese places of learning are anything like those who have the control of\nthe Museums, National Libraries and Archives, we are satisfied thai\nthey can cooperate with any artist and that any artist could cooperate\nwith them.\nWe are not quite clear what Mr Nicoll means when he says thai\n4 4 the University in its own way has made the gesture of willingness tc\ncooperate \" and that 44 that gesture has not yet been sufficiently replied\nto Will he perhaps be more explicit later on.\nThe University of Yale provides its Dramatic section with a vast\nsum to work with at Yale; but we would like to see an artist and not\na professor in charge.\nWe like to learn that Mr Allardyce Nicoll is 44 engaged with some\ntwenty students in the preparation of an elaborate 4 Dictionary of the\nDrama *; but we do not like to think that the news was sent to 44 The\nMask\" and that it was lost in the post. But was the news sent tc\n44 The Mask \" ? The Editorial offices have received not so much as e\nwhisper about it.\nMum should not be the word if cooperation is to become a reality.\nAs for any hatred of the narrowing tendencies of University work\nthat is we hope an impossibility. The English Stage could with ad\nvantage undergo a good deal of that same 44 narrowing \" as Mr Nicol\nrather humourously calls it; and for theatrical people to hate it is al\nfiddlesticks.\nThere must be no sneering at the University by the Theatre.\nThere must be understanding.\nThis will the sooner come about if our Universities will refrain frorr\nhonouring none but the more obvious people in the Dramatic world.\nA University need not follow in the wake of the Court or the Pub!i<\nand, playing safe, do honour to only those stage favourites whom the whole\nworld has long ago dubbed as 4 popular favourites \\ and crowned wit!\nlaurels and enriched with gold.\nWe shall always suppose that a University is above anything like\nducking to the public, or appealing for its verdict.\nAnd in that supposition we welcome Mr NicolFs suggestions and\nhope to see them come to something worth while.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c004", "article_bluemountain": "bmtnaau_1925-04_01#c004", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "65", "image_debut": 7, "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=bmtnaau192504-01.2.3", "titre_corps": "EDOARDO FERRAVILLA : AN ESSAY ON A GREAT ACTORTRANSLATED WITH A BIOGRAPHICAL NOTE BY D. NEVILE LEES", "titre_sommaire": "EDOARDO FERRAVILLA : AN ESSAY ON A GREAT ACTORTRANSLATED WITH A BIOGRAPHICAL NOTE BY D. NEVILE LEES", "signature_source": "RENATO SIMONI ; D. NEVILE LEES", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2687, "texte": "EDOARDO FERRAVILLA\nAN ESSAY ON A GREAT ACTOR\nTRANSLATED WITH A BIOGRAPHICAL NOTE BY D. NEVILE LEES.\nBY RENATO SIMONI\nTHE great comedian had been wasting away\nfor months. He could resist no longer. Every\ndtal force was languishing in him. One day in\nVlay the delusion came to him that he could\nnaster his exhausted body by the power of his\nivill. He longed to see once again the street,\nhat field of his observations, that great stage\nlpon which the public performed for him. He\nlad himself caVried downstairs and supported\nluring a brief escape from his melancholy infi-\nnity. He returned home more broken down than\n>efore. He entrenched himself in the derision\n>f bitter hilarity. He laughed at his malady,\nle mocked at death. It was a trifling but tragic\n>iece of arrogance. He desired to die as Fer-\navilla, with the innocent and bitter laugh of\nhe humourist on his aged mouth. The dying\nlan counterfeited himself. But in the meantime\nie was meditating in secret on matters of con-\ncience. He married his companion, conversed\nvith churchmen. And, from day to day, his\nfe was fading away in a quiet apathy. He\n/as done for. Death had but to pass by and\narry him off. And it took him without encoun-\naring any resistence.\nThe public had almost forgotten that Edoardo\n■erravilla was a dying man. The loud rumble\nf the war drowned this exhausted senile brea-\nking. And meantime there was fading away\nman for whom no substitute can be, ever will\ne, found: the generator of a kind of dramatic ob-\n\nBIOGRAPHICAL NOTE.\nEDOARDO Ferravilla was born at\nMilano in 1847, the son of a singer,\nMaria Luigia Ferravilla, and of the\n44 noble Filippo Villani\"; so that, if\non the one side he had in him some-\nthing of the aristocracy, on the other\nside he had something of the stage.\nThe mother died when he was six\nyears old, the father seems to have\nbeen careless of his existence. Giacomo\nViglezzi, an accountant, was appointed\nlegal guardian to the boy, and taking\nhim home, gave him that family life\nwhich he had lost with his mother's\ndeath, and which was remembered with\nprofound gratitude in later years.\nIn the simple Milanese household,\nwhere Giacomo Viglezzi lived with his\nfive sons, all accountants, the boy na-\nturally enough progressed rapidly .in\naccountancy, and also wrote so fine a\nhand that at thirteen he was already\nearning five lire a day .... no small sum\nin those days.... by copying statements\nof accounts.\nIt was not, however, all figures and\naccount books ; for one of the brothers,\nEnrico, was \" a delicate painter, a fine\ndilettante of dramatic art, an ardent\nlover of music and it was under his\ninfluence that young Ferravilla made in\nthese three arts those first attempts"}, {"page_pdf": 8, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 4176, "texte": "which were later to influence his choice\nof a career.\nThe theatre soon became his ruling\npassion. Giacomo Viglezzi, who was\nadministrator of the old Teatro Ke(l)\nwas entitled to a box there. Young\nFerravilla and his friends went there,\ntwice a week, to applaud the best plays\nand performers of the day. \" Across\nthat stage \" writes the actor \" there\n\" passed all the best which the Italian\n44 theatre could boast, and I vividly\n\" recall the voice and gesture of supreme\n\" artists like Alamanno Morelli, la\n44 Cazzola, Gaspare Pieri and many\n\" others \".\nFerravilla says, like all actors have\nsaid, that he used to come away from\nthe performances with a frantic desire\nto return to them; and that in the im-\npatience of waiting he gave time to\nplaying with a marionnette theatre he\nfound in the garret of his guardian's\nhouse.\nWhile still an accountant, he began\nto act in 1867 with the societa Gus-\ntavo Modena (an amateur society).\nHis second appearance was in Paolo\nFerrari's play, \" La donna e lo scet-\ntico *' (the woman and the sceptic),\nwhen he was assured by the director\nof the filodramatic company, Ettore\nManzoni, that he was born to play\nlover parts. He was born to create\ncomic masterpieces, so it is quite ac-\ncording to the rules of theatrical pro-\nphecy that Signor Manzoni should have\ndiscerned nothing.\nSo he returned to the comic.\nHe began with the \" Ciocon de\ngrapa 0 by De Toma. In this part\nFerravilla \" gathered the elements which\nhe later succeeded in fusing into the\ntype of Tecoppa \" Tecoppa can be\nuniversal\" he writes ; \"his moral figure,\nhis character could find a place in ali\ncomedies; he is the man who fawns\nbefore the rich, is pompous with the\npoor; jovial and an enemy of work \".\nHere then was Ferravilla, at nine-\nteen, torn between the theatre and the\naccountant's stool, the struggle continuing\nfrom the spring of 1867 until 1870.\nHis old tutor Viglezzi was now dead,\nbut he still remained in the office with\nthe son, Enrico, and his salary had\nrisen to two hundred lire a month, in\nthose days eight pounds. He lodged\nwith Enrico in the house in via Prin-\ncipe Umberto N.° 5, and paid the\nenviably small sum of sixty lire a month\nfor food and lodging. \" Sometimes I\n\n(i) The Teatro Re, designed by Cano•\nnica, was opened December 18\nIt was destroyed about 1876 when the big\nGalleria was built. Its positions was near\nwhat is today the entrance to the Galleria\nin Piazza del Duomo.\n\nservation which has refreshed our whole theatre;\nthe most extraordinary and original creator of\ncharacters that the modern stage has possessed.\nNow all that he was is comprised in our\nmemory. Edoardo Ferravilla will really vanish\nonly when we who have seen him, heard him,\nshall have also passed away. But how shall\nwe be able to transmit the value and the colour\nof his art to the young who will overtake us\nlater in life? If, moved by that dominant in-\nstinct innate in all to conquer, to conserve, to\nperpetuate the possession of everything that most\npleases us, we seek to fix in our mind, not\nmerely the unforgettable traits of his acting,\nbut the sense of that which he himself was,\nwe perceive that we run the risk of recon-\nstructing a Ferravilla as remote from the true\nFerravilla as were and are his imitators.\nNever did the theatre attain to such reality\nby means of a greater finesse, a finer and more\nmeasured delicacy.\nThe power of expression possessed by Fer-\nravilla shrank from lineaments too definitely di-\nsplayed. The artist seemed always to avoid\nhighly emphasized gestures, figures wholly filled\nin and set in full light. He manifested a cau-\ntious parsimony even in the use of the word,\nwhich is yet the readiest, most expressive and\nmost expansive means of communion with the\naudience. He bit it off between his lips: hardly\nwas it launched with a vivid leap than he re-\ncalled and suffocated it; he extinguished it when\nit was most brilliant; he let it escape with a\nkind of hesitancy and indecision. His stage\nspeech was brief: he seemed uncertain, timid,\ndistrait. For him pauses were not silences\nbetween the words, but a word or so amid\nthe silences. His every little phrase had the\ninstinctive and plastic value of a gesture. In"}, {"page_pdf": 9, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4310, "texte": "speaking he was not concerned with the expres-\nsion of ideas or the relation of facts. He limited\nhimself to adding one touch the more to a cha-\nracter. He sought for this alone. His reper-\ntory was, au fond, a gallery of portraits: por-\ntraits not of persons but of human types. It\nwas owing to this that one perceived in them\nsome synthetic details which a careless observer\nmight mistake for a caricatured distortion; and\nwhich was, on the contrary, a search for essential\nverity, for stupendously distinctive signs.\nThese signs, so sober and so vivid, were\nthe more admirable in that the figures they\ndefined, and profoundly differentiated, were not\nalien one from another, but, in a certain sense,\nakin. The comic world of Edoardo Ferravilla\nwas no very vast one. It was a little world\nof mediocrity, mental and moral: that world\nwhich tends not to ascend but to stagnate;\ninclines not towards self-liberation but towards\nan ever closer self-imprisonment within the re-\nstricted environment of tradition and habit. It\nwas the world of the half-souls, characterised\nby the absense of every virtue rather than by\nany definite vices.\nThe actor represented and ridiculed the petty\nbourgeois society, mildewed but not yet decayed.\nHe seized upon it and reproduced it in all its\ninane effort to attune itself to the passing hour,\nin its laborious and ridiculous approach to the\nfresh spirit which the new life elaborated and\nis ever renewing. The Ferravillian personages\nare all sluggards who seek in vain to catch up\nwith the passing of time. Incapable of self-\nevolution, they imitate; and their profound ab-\nsurdity lies wholly in the disparity between what\nthey really are, and the semblances which they\nwould or must assume either through vanity or\nout of respect for human opinion. It is an infi-\n\ndid not pay them all .... but I have\npaid since he writes.\nFor two years Ferravilla's indecision\nas to a career continued, during which\ntime, having takefn a season ticket for\nthe small theatre of Santa Radegonda (2)\nhe was able to frequent that other\nworld which attracted him so strongly.\nAt this time the first idea of founding\na Milanese dialectic theatre was deriving\nencouragement from the success won by\nToselli's Piemontese company which\nhad visited Milano in 1859-60; and\ntowards 1872 a group of Milanese\ngathered together and mapped out the\nbasis of the repertory and the company.\nIn 1870 a home for this work was\nsecured by the purchase of the padi-\nglionc Cattanso, on Corso Vittorio Ema-\nnuele. The old pavilion was pulled\ndown, and the Teatro Milanese was\nbuilt by Carlo Righetti, better known\nin art by the anagrammatic name of\nCletto Arrighi, at a cost of \" not less\nthan eighty thousand lire #\\ Before\nthe theatre was ready to open, Righetti\nwas busy forming his company, offering\nthree or four lire a day to actors; and\nyoung Ferravilla determined to apply\nfor a place, only to find himself im-\nmediately designated as 44 il vero tipo\nd'amoros \", the true type of lover, a\ndistinction which made his 44 blood run\ncold \"# though he dare not dispute the\ndecree. An agreement was come to,\nby which Ferravilla was to be at his\nimpresario's disposal for rehearsals only,\nfrom one till three in the afternoon,\nso that he could continue his work in\nthe Viglezzi office. He could also\ncontinue to rehearse in the evenings\nwith his old friends of the Gustavo\nModena society, and to perform with\nthem on Sundays. In this interval pre-\nvious to the opening of the new theatre\nRighetti was to pay him lire 3.50 a day.\nIn October 1870, owing to the ill-\nness of another actor, he made an\nunexpected debut in a small part as\namoroso, and the next day had to\nlisten to a lecture fiom the excellent\nEnrico Viglezzi, who pointed out em-\nphatically that no one can follow two\ncallings. 44 If you want to stay here\n\" and do as I advise, you can be sure\n44 that in four or five years you will\n44 have a solid position and earn your\n44 three or four thousand a year. If\n44 you want to go and play the pagliaccio\n44 at the teatro Milanese, in fine pieces\n\" like that of last night, you are your\n44 own master. You may possibly die\n44 of hunger and will certainly make\n44 others laugh at you \".\nIt was that eternal voice of routine\n\n(*) Teatro Santa Radegonda was built\nin 1803; it no longer exists as a theatre."}, {"page_pdf": 10, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 4230, "texte": "and too solid, too common sense free-\nzing when faced by the adventure of\nart. Ferravilla temporized for the mo-\nment ; but as was inevitable he left\nthe Viglezzi desk and stool and turned\nwholly to the stage.\nAmong his companions at the Teatro\nMilanese were Sbodio, Gandini, Crespi,\nMilanesi, Caraviti, Giraud, the actresses\nLuigia Prada, Trezzini, Vaghi, and two\nwho both bore the name of Giovanelli.\nIn October 1872 Ferra villa proved\nthat he had greater capacities than\nthose of merely reciting the words\nof others; for, having a very short\npart entrusted to him, he asked leave\nto add an extra scene of his own\ninventing, which obtained great success.\nIn doing this he was but carrying on\nthe best traditions of the European\nstage so clearly stated by Riccoboni\nand Gherardi (3).\nAfter this Ferravilla wrote 44 El sur\nPedrin in quarella \" in four acts which\nwas performed December 2nd 1872:\nRighetti oflered him three hundred lire\nfor the right to give the play for a year,\nand •• full houses \" at the Milanesi\nfollowed on without interruption. Again\nwe see what comes of following the\ntrue tradition.\nThe young actor was still, however,\nbeing cast for the lovers parts, till, in\na play called 44 Dal tecc alia cantina\nFerravilla created for himself the part\nof an old paralytic. Thus came into\nbeing the little old man which later on\nthe actor used in the Scena a sog-\ngetto musicale. 44 Between 1872 and\n1880 \" he writes, 44 all the types of\nmy repertory were bom. I found my-\nself perfectly in agreement with the\nauthors, who not only accorded me the\npart of the protagonist, but called on\nme to collaborate. I was free to mo-\ndify my personage, to caress it and\nstudy it until it seemed to me in per-\nfect equilibrium with my aptitudes \"•\nThe first idea of the celebrated Te-\ncoppa had come to him long before:\n44 Panera \" was another figure to be\ntested here and there, first in a vaude-\nville of his creator's, then in a French\nvaudeville adapted for the Milanese stage,\nin which 44 I recited a soggetto (4) all\nmy part and the whole of the second\nact In this piece, 44 El duel del\nsur Panera Signor Panera, 44 after\nhaving undergone for about a month\nthe retouches suggested in the act of\nrepresentation, took his final shape \"•\n.... Hear, you unbelievers, how it is\ndone. It is grown; it shapes slowly,\nnight by night.\nThe affairs of the company were by\n\n(3) see ,4 The Mask Vol. 111, No. 4.\n(4) Improvising o?i a given subject.\n\nnitesmal disparity, without any solemn reverbe-\nrations ; a disparity in which, at most, the five\nsenses squabble with the ten commandments.\nEdoardo Ferravilla elevated to perfect art\nthis somewhat inferior material, which was the\nmaterial of the most ancient theatre. His types\nare the traditional ones: the miser, the preten-\ntious fool, the fop, the glutton, the bore, the\nmuddler, the cuckold, the coward, the libertine.\nBut one no longer recognized them. They had\nbeen fused afresh in life itself. They had\nacquired a pliability, a simplicity, a lightness,\nwhich they formerly lacked. They no longer\nadvanced insolently to the footlights, massive,\nlimned and coloured in from head to foot. In\nthe miser it was not avarice in its most direct\nmanifestations that the artist portrayed for us,\nbut the complex distortions which this passion,\nwhen dominant, produces upon the minor pas-\nsions, the less aggressive instincts, which still,\nin their turn, seek their own gratification.\nIn the betrayed and complaisant husband he\nhas never given us the flat and ridiculous igno-\nminy of this complaisance; but rather the dull,\nsuspicious, fearful corrosion which it works in\nthe whole moral organism of the personage.\nIt was the coexistant foibles which he examined,\nso as to make us clearly comprehend what was\nthe principle foible.\nThe characters which he created were never\nstatic, but were continually developing before us.\nThey neither evolved nor achieved themselves.\nEach represented a phase, a transitory moment\nof its own vice. What the actor said not only\ndepicted but developed them. They betrayed,\nrather than confessed, themselves: rather than\nexposing themselves, they peeped out. They\nyielded themselves to being known solely because\nthey sought to hide themselves. It was the"}, {"page_pdf": 11, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4221, "texte": "clumsy timidity of their defects which revealed\nthem. Their broken and brief discourse hinted, it\ndid not consummate: it cut in, it did not carve out.\nThe stupendous originality of Edoardo Fer-\nravilla was manifested with equal brilliance alike\nin his choice of words, and in the elimination\nof such details as seemed to him too generic.\nIn this twofold task he always revealed a psy-\nchological intuition and a taste which were unsur-\npassed upon the stage. His great personality\nwas founded above all upon these principles,\nand upon them his true glory is established.\nIt is obvious that this man could not act\nas interpreter of any other than himself. He\nnever lent himself to pronounce words written\nby others. When he did not himself compose\nthe part he wished to represent, he entirely\nrenovated it; cancelled, from plays offered him\nby others, the part destined for himself, and,\nfor the authors's conception, substituted, not any\narrogant fantasy of his own, but the actions and\nreactions impelled by his own sensibility.\nIt was, in truth, a matter of actions and\nreactions. Ferravilla never created a type straight-\nway and on the spur of the moment. He\nlived it. He began to conceive it and to sketch\nit at the rehearsals; he sampled it, he weighed\nit, he listened to it. He always brought it on\nto the stage immature. His personages learned\nto speak little by little, from day to day, like\nchildren. Beginning by babbling, they lingered\naround some monosyllable until the true word,\nthe best, the most significant, the most direct,\nthe unique word, emerged, not from the lips,\nbut, one may rather say, from the consciousness\nof the actor, who was no longer merely the inter-\npreter of the personage, but who had actually\ntransformed himself into the real true personage.\nThat word never again changed. Years passed\n\nthis time flourishing, but its members\nware discontented, because the manager,\nRighetti, wasted the profits at the rou-\nlette table, and .salaries, low in any\ncase, were being irregularly paid. Fer-\nravilla contemplated making a change,\nbut first proposed to Righetti that he\nwould remain if paid seven lire a day\ninstead of five. Hear again how it\nis done, you unbelievers. But before\nyou can hear you will have to take\nthe wool out of your ears, and se-\ncondly prepare your nerves for this\nawful shock. Five shillings for a ma-\nsterpiece ! Can you face that ?\nAfter a definite refusal, followed by\nnegociations on the part of the ma-*\nnager's friends, Ferravilla was offered\nhis seven lire a day and the receipts\nof one evening a month, and the com-\npany want on as before. Remember\nthis was a superlatively talented actor,\nnot one of the kind who refuse £ 20\na week, £lO a week and wish to\nbe thought great actors.\nAbout this time a certain Signora\nPessina, separated from her hushand,\nbegan to frequent the theatre, and also\nto attest warm admiration for Ferra-\nvilla himself, which soon proved to be\nthe prelude to getting herself admitted\ninto the company, becoming known\nupon the stage as Emma Ivon. A beau-\ntiful woman, with gifts which won her\nfavour with the public, her friendship\nwith Ferravilla continued until her death\nin 1899. '\nMatters with the Righetti Company\nwere still unsatisfactory, and the prin-\ncipal players at last united together to\nconsider a change.\nIt was at this time that Signor Ta-\nlamoni, director of the first Milanese\nCompany, proposed constituting a Fer-\nravilla-Sbodio-Giraud company of which\nhe should be administrator. He was\nto provide scenery, properties and\nother necessaries, he and each of the\nheads should receive ten lire a day (5)\na piece, and Ferravilla was nominated\nartistic director.\nAll was agreed to and the new\ngroup began its performances at the\nTeatro Cressoni at Como in 1876.\nThe repertory consisted of some twenty\npieces; the enterprise flourished, and pro-\nmised brilliantly, when Talamoni died.\nThe company was, however, well\nestablished, and Ferravilla was invited\ntQ undertake the functions of admini-\nstrator as well as of capocomico (6)\nand artistic director.\nThe young manager, now about\n\n(5) You have caught the idea by now>\ndoubtless : the idea that money is not\nthe whole aim of the finer Italian actors.\n(6) Leading actor."}, {"page_pdf": 12, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4206, "texte": "twenty-nine, had his hands full with\nhis new responsabilities, being obliged,\nby contracts already signed, to tran-\nsport his company first from the teatro\nCommenda at Milano to Lodi, and\nthen for the first time to Napoli.\nThe company prospered; and each\nof the soci (shareholders or societaires)\ntook in every year between three and\nfour thousand lire as well as their sa-\nlaries and the proceeds of their special\n\"benefit\" evenings, Ferra villa in 1879\nwas unanimously accorded by his col-\nleagues twenty instead of ten lire a day.\nThus he, the manager and chief actor,\nwas paid about £ 3.0.0 a week.\nFor many years the company con-\ntinued to perform with uninterrupted\nenthusiasm and with little change in its\nprincipal component parts.\nAround the five principal players\nother and most capable actors were\ngathered, and a high standard conti-\nnuously sustained.\nIn 1880, says Ferravilla, \" all my\n\" comic types were definitively fixed,\n\" and only varied in the phrases with\nu which I presented them to the pub-\nM lie \". So we see that he is at\nwork on his types for thirteen years.\nFerravilla was by now a celebrated\npersonage. Honours began to come\nhis way. In 1888 he was presented\nto King Umberto at the Quirinal, when\nthe King smilingly shook hands with\nhim, and, after indicating his acquain-\ntance with the actor's interpretations,\nsummed up his praise in a genial\nfashion saying, \" After having heard\nM you, the Queen always returns from\n*• the theatre delighted with everything,\n•• and I am grateful to you\nBy the King he was created Ccm-\nmendatore, and came to enjoy the\naffectionate esteem of Giuseppe Verdi,\nG. Ricordi, (head of the great musical\npublishing house of Ricordi), Paolo\nMantegazzi, (who wrote an enthusiastic\neulogy of him as a \" great hygienist \",\ncuring men of the humours of gloom\nand many mortal ills by the sun-like\nsplendour of his art); and many more.\nHis own colleagues, also, presented him\nwith a declaration, recognizing the zea-\nlous and scrupulous way in which he\nhad filled his office both as capocomico\nand administrator.\nSo things went on until 1897.\nFor twenty-nine years Ferravilla had\nbeen the lessee of the Teatro Milanesi,\npaying an annual rent of eight thou-\nsand lire, (then £ 320). The receipts,\nowing to the capacity of the theatre,\ncould not, at ordinary prices, surpass\nnine hundred lire (£ 36) an evening,\nalthough on certain evenings, at higher\nprices, they reached the sum of thirteen\nhundred (£ 52). For an evening in\n\nand it remained. And it was so true and illu-\nminating that it never grew old. Repeated\nthousands of times, before the same audiences,\nit always remained fresh, with all its vivacity,\nall its exuberant power. From the stage it\ndescended into the auditorium. The crowd\ncarried it away, passed it on, spread it, incor-\nporated it into its patrimony of perfect and com-\nplete sayings. With how many phrases of speech\nhas Ferravilla not enriched our current speech ?\nThe famous \" ha detto male di Garibaldi \"\n(he has spoken ill of Garibaldi) would itself\nsuffice to render a playwright famous. The\n4' indelicate \" of Panera suffices to reveal in Fer-\nravilla a capacity to sum up a soul in a single\nword, a whole man in a few syllables.\nA cycle is closed for ever. Never again shall\n** we see those vivid figures at the footlights.\nHow many were there? A host. And among\nthem one loomed gigantic: Tecoppa. He was\nthe best beloved. So living was he that he\ncould not be restricted to one comedy.. Emer-\nging thence, he reappears in iriany others. He\nwas a precise, mathematical truth, and, at the\nsame time, he possessed the amplitude of a\nsymbol. He could participate in all events.\nHe embraced half a century. He had known\nRadestzki; and imprecated against areoplanes.\nHe was a living protest. He protested against\nproperty, against work, against the cararabineers,\nagainst the law. \"I propose ten months of impri-\nsonment for the said Felice Tecoppa\" thundered\nthe Public Minister. \" And Ido not accept! \"\nretorted the said Felice Tecoppa. He knew\nthe world and the pockets of the world. By\nprofession he was tradesman and benefactor. Be-\nnefactor because he disburdened his neighbours\nby lightening their pockets. As a youth he had"}, {"page_pdf": 13, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4339, "texte": "acted as a spy in the service of the imperial\npolice. He was acquainted with history\n\" Radestzki? he was good, poor little fellow.\nHe had one sole defect: when he was angry\nhe bombarded\". He considered human life\nsacred: \" Better be cowards for half an hour\nthan dead for the whole of life\". And he\nused to say 44 A soldier who runs away, is good\nto fight another day He detested subsidized\nfolk, the rogues, for example, who lead a jolly\nlife and whistle in their cages and do not let\nthemselves be caught. He had select relations\nwith the world beyond. Exorcist, he sum-\nmoned the dead to the telephone. 44 Drin,\ndrin! Am I speaking with Hell? Is Brambilla\nthere ? \" He desired the division of property.\n44 We are all brothers. You have ten lire ?\nHand them over. Five for me, five for you\nAnd blows on the sides and below the belt to\nthe reactionary who refused to solve the social\nproblem with his solitary ten francs.\nHe was mellifluous, obliging, the friend of\nwine, the friend of man. He walked somewhat\nbent, with his hands in his trousers pockets,\nrolling slightly, peasant-fashion, on his long legs;\nhis rapacious eyes cast down, gnawing the points\nof his moustaches ; snorting loudly, with a sini-\nster grimace, to clear an always stuff ed-up nostril.\nHe robbed with benignity. He did not threaten\nsave under stress of danger. He grew senti-\nmental on the subject of his great honesty.\nGood, unfortunate and poor! Infamous world 1\nAnd there are the shop windows of the jewel-\nlers overflowing with precious things! His phi-\nlanthropic heart suggested 44 smash the glass,\ncarry away what you can! How many poor\npeople you will be able to benefit! \" But two\ncarabineers appear! And they would be ca-\npable of thinking ill of his good intentions!\n\nFerravilla** honour in 1880 they even\nrose as high as fifteen hundred and\nseventy lire (£ 62.15.0). But Ferra-\nvilla was growing tired with the admi-\nnistrative work added to his work as\nan actor, and was seriously considering\nretiring, when an actor named Fran-\ncesco Grossi made him a proposal by\nwhich Grossi was to acquire the ownership\nof the company together with a certain\nsignor De Capitani, and the new orga-\nnization was to be known as the 44 Grossi\nand De Capitani Milanese Company\ndirected by Edoardo Ferravilla This\nproposal Ferravilla accepted.\nFurther changes were brought about\nby the death, first of the actress Co-\nmelli, and then in 1898 at Genova,\nof Emma Ivon. Of the severing of\nthis long association he writes: \" I\n\" found comfort for sorrow in my art.\n4 4 When I act I so merge myself in\n4 4 the personage that I could not betray\n44 myself even if I would. Every phy-\n-44 sical and moral suffering finds it most\n44 effectual remedy for the actor on the\n44 boards of the stage\nBut besides the personal sorrows\nwhich come to all, Ferravilla was beset\nby those annoyances reserved for all\ncelebrated and creative artists : that of\nthe imitators, who in his case persisted\nin presenting his well-known parts with\ntheir own names not very noticeably\nprinted in small type, 44 imitator of ** al-\nmost imperceptibly small, and 44 Edoardo\nFerravilla ** in letters so enormous that\nit left in the minds of the busy public\nthat it was Ferravilla himself they were\nto see. It was the same old monkey-\ntrick from which no art work or en-\nterprise is free today, and Ferravilla\nwas as powerless as the rest to protect\nhimself from this dishonest imposition.\nYoung actors will do well to study\nFerravilla's cwn u credo ** as set forth\nin his little book of Memoirs (7), and\nmeditate upon his experience regarding\ntruth, his 44 unconquerable repugnance\nfor dramatic works in verse \" (as alien\nfrom truth) ; his study of measure (ie,\nmoderation) in word, gesture and cos-\ntume ; his dislike for slap-stick busi-\nness or double entendres to raise laugh-\nter ; his careful observation; in short,\nthat aristocratic quality which he nev< r\nlost even when representing the very\nlowest social types : that immense sin-\ncerity, that unremitting search after\ntruth, that tireless effort after perfection\nby which he disciplined his natural\nexuberance and creative genius, and\nwhich rendered him so distinguished a\nsuccessor of the great comici delVarte\n(44 professional actors **) who were the\nglory of the Italian stage at an earlier day.\n\n(7) Societa Editrice Italian at Mi I a no."}, {"page_pdf": 14, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.14", "debut_caractere": 849, "fin_caractere_exclue": 2594, "texte": "Well, Tecoppa is dead. Down with Te-\ncoppa too, down with him into the same grave\nas that which opens for the long sleep of his\nanimator. Small sprouts will still burgeon ; but\nthe perfection, the rascally grace, the inexhaus-\ntible novelty, the fresh manifestation, the ever-\nrenewed surprise, of this type, which had become\na prototype, will fade away in ever paler re-\nflections, ever fainter echoes. A masterpiece\nhas perished ! And nothing could be done to\nsave it. And it is better that it should die rather\nthan that the restorers should present it to us\ncontaminated and botched.\nI wish that the figures which Ferravilla crea-\nted, which he fashioned into so many forms of\nbeauty, should disappear from the stage. Even\nthe most intelligent actor who should dare to\nrevive them would but falsify the memory of\nthe dead.\nHe could, at the very most, but reproduce\nfor us the exterior Ferravilla, the Ferravilla who,\nin the bare and simple dressing-room, between\na grenadine-syrop-and-seltz and a small pipe,\nbefore a tiny looking-glass, with a bit of pink\ncotton wool, a small brush, and a pot of mastic,\nobliterated, beneath a new face, his own shaven\nface. But that same make-up which, on the\nface of the noble artist, was the reflection of\na soul, became, upon another face, merely a\nglassy and waxen mask. How imitate that\nmysterious light which shone out from beneath\nthe earth-coloured and the reddish and bluish\npastes, the wigs, the whiskers, the moustaches;\na light bitter and ironic, the light of inspiration,\nsynthesis, creative power ? Oh infinitely various\nmasks of life! Shadows of truth!\nHere is the face, something 'twixt the irri-\ntable and the sceptic, of Pastizza, with a wrin-\nkled dryness, half English and half farmer."}, {"page_pdf": 15, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 1839, "texte": "Here the perplexed and authoritative eyes, and\nthe calm and valiant nose projected above the\nsmile full of futile good sense, of the 4 4 Sposo\nper riderethe absurd husband. Here the\nincredulous and stupid myopy of the signor Pa-\nnera, beneath a sloping and wrinkled forehead;\nthe sharp and petulant condescension of signor\nPancrazio, framed in silky side-whiskers; the little\npointed, up-turned beard, Gascon and Pan-\ntalonic, of Gigione; the great nose of Massi-\nnelli, delighted by every whiff of fry or servant\ngirl; the dull senility of the old man of the\n44 Scena a soggetto\", extinguished in a calli-\ngraphic flourish of wrinkles between the loose\nmouth and the pendulous bow of the butterfly-\ntie; the thin lips and small brain of Petrino!\nHere, too, we have artist's whole person\nattuned to those faces, either as their cause or\ntheir consequence: There are imperceptible and\nprofound gestures ; disjointed and halting steps;\na curious and significant dislocation of the whole\nbody upon knees stiff as those of a cab-horse;\nand there is that stamping of quarrelsome feet,\nor that hesitation of cautious feet, or that tre-\nmulous weight of very heavy feet; and there\nare certain little shrugs of the shoulders, little\nshakes of the head : there is that tortuous and\nserpentine protrusion of the neck from out the\ngrandiose collar; there are certain exits from the\nstage, with back to the public, which were\nmasterpieces of comicality and expression ; there\nwas an eloquent winking of the eye, an irre-\nsistible fluttering of the lashes, and the vacuous\nwrinkling of the forehead ; and then the infinite\nnumber of ways of smiling of which Ferravilla\nwas capable, though 1 do not recall that the\nstage ever saw him laugh; there were the\ntwenty-and-one voices of which he was master;\nlight, sybillant, sharp, raucous, nasal, tremulous,"}, {"page_pdf": 16, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.16", "debut_caractere": 2434, "fin_caractere_exclue": 4207, "texte": "vibrant ....who will ever again give us all this?\nAnd if, by some miracle, some one could do\nso, it will still never again be Ferravilla. There\nwill always be lacking that immense sincerity\nof his, that genial vigilance of his artistic con-\nscience, that flavour, that character; that style;\nall the significance, the secret, the marvel of\nhis personality.\nWith him ended a noble epoch and a hi-\nstory. The Milanese theatre was dead.\nThis was sad; but there was always Fer-\nravilla. The stage upon which his glory had\nbeen affirmed had been demolished by the\npickaxe. Goodbye, old little auditorium. But\nthere was always himself. His comrades had\npassed away : the actresses Giovanelli, Comelli,\nIvon; the thunderous Bazzaro; the audacious\nGiraud; the grumpy Dassi; Grossi; Carnaghi.\nWhat a cemetery ? Gaetano Sbodio was impri-\nsoned in his blindness. But there was still Fer-\nravilla, he who summarized in himself the va-\nnished men and things; he, upright and active,\nwith his fine clean-shaven aristocratic face ; with\nthe harmless caprices of a mild persecution mania;\nwith his extravagant and jesting irony, his di-\nscursive and disconnected conversation; he who\npresented himself and filled the theatre ; he who\nnever grew old, and who lived, half gay and\nhalf suspicious, in his eternally white waistcoat,\namong his pianos, his billiards, his pipes; sketch-\ning in water-colours, composing little marches\nand dances; generous and mean, modest and\nproud, irresolute and obstinate.\nBut, with his death, the ruin was complete.\nThere remained littered around in cupboards and\nchests-of-drawers, without sound and without to-\nmorrow, the picturesque and antiquated clothes\nwhich were a part, and not the least artistic part,\nof his interpretations. Glorious uniforms of a"}, {"page_pdf": 17, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 924, "texte": "sovereign of the stage, now they are relics, now\nthey are rags.\nFerravilla is dead.\nBut we cannot, we ought not to think of\nhim as cold, motionless and changed upon his\nbed.\nStanding between his past and his tomb,\nlet us turn to the past. We ought to associate\nthe idea of his departure with some vision of his\nart.\nHere is the little old man of the \" Scena\na soggetto musicale\". He has chatted, he has\nsung, he has evoked old romantic melodies on\nthe pianoforte. Now it is late and he is tired.\nHe rises with an effort from the armchair, takes\nhis candle, moves slowly, slowly forward to the\nfront of the stage, turns towards the audience,\nbows slightly, and says, with a small trembling\nvoice, \" Buona notte\". A head shakes, a little\nbow trembles, a light quivers in the feeble\nhand; and we seem still to see disappearing\nin the distance the light which illumines his\nway, the light which cast gleams of joy into\nour life."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c006", "article_bluemountain": "bmtnaau_1925-04_01#c006", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "61", "image_debut": 7, "image_fin": 13, "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=bmtnaau192504-01.2.3.2", "titre_corps": "BIOGRAPHICAL NOTE", "titre_sommaire": "BIOGRAPHICAL NOTE", "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": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.7", "debut_caractere": 1495, "fin_caractere_exclue": 2687, "texte": "BIOGRAPHICAL NOTE.\nEDOARDO Ferravilla was born at\nMilano in 1847, the son of a singer,\nMaria Luigia Ferravilla, and of the\n44 noble Filippo Villani\"; so that, if\non the one side he had in him some-\nthing of the aristocracy, on the other\nside he had something of the stage.\nThe mother died when he was six\nyears old, the father seems to have\nbeen careless of his existence. Giacomo\nViglezzi, an accountant, was appointed\nlegal guardian to the boy, and taking\nhim home, gave him that family life\nwhich he had lost with his mother's\ndeath, and which was remembered with\nprofound gratitude in later years.\nIn the simple Milanese household,\nwhere Giacomo Viglezzi lived with his\nfive sons, all accountants, the boy na-\nturally enough progressed rapidly .in\naccountancy, and also wrote so fine a\nhand that at thirteen he was already\nearning five lire a day .... no small sum\nin those days.... by copying statements\nof accounts.\nIt was not, however, all figures and\naccount books ; for one of the brothers,\nEnrico, was \" a delicate painter, a fine\ndilettante of dramatic art, an ardent\nlover of music and it was under his\ninfluence that young Ferravilla made in\nthese three arts those first attempts"}, {"page_pdf": 8, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2416, "texte": "which were later to influence his choice\nof a career.\nThe theatre soon became his ruling\npassion. Giacomo Viglezzi, who was\nadministrator of the old Teatro Ke(l)\nwas entitled to a box there. Young\nFerravilla and his friends went there,\ntwice a week, to applaud the best plays\nand performers of the day. \" Across\nthat stage \" writes the actor \" there\n\" passed all the best which the Italian\n44 theatre could boast, and I vividly\n\" recall the voice and gesture of supreme\n\" artists like Alamanno Morelli, la\n44 Cazzola, Gaspare Pieri and many\n\" others \".\nFerravilla says, like all actors have\nsaid, that he used to come away from\nthe performances with a frantic desire\nto return to them; and that in the im-\npatience of waiting he gave time to\nplaying with a marionnette theatre he\nfound in the garret of his guardian's\nhouse.\nWhile still an accountant, he began\nto act in 1867 with the societa Gus-\ntavo Modena (an amateur society).\nHis second appearance was in Paolo\nFerrari's play, \" La donna e lo scet-\ntico *' (the woman and the sceptic),\nwhen he was assured by the director\nof the filodramatic company, Ettore\nManzoni, that he was born to play\nlover parts. He was born to create\ncomic masterpieces, so it is quite ac-\ncording to the rules of theatrical pro-\nphecy that Signor Manzoni should have\ndiscerned nothing.\nSo he returned to the comic.\nHe began with the \" Ciocon de\ngrapa 0 by De Toma. In this part\nFerravilla \" gathered the elements which\nhe later succeeded in fusing into the\ntype of Tecoppa \" Tecoppa can be\nuniversal\" he writes ; \"his moral figure,\nhis character could find a place in ali\ncomedies; he is the man who fawns\nbefore the rich, is pompous with the\npoor; jovial and an enemy of work \".\nHere then was Ferravilla, at nine-\nteen, torn between the theatre and the\naccountant's stool, the struggle continuing\nfrom the spring of 1867 until 1870.\nHis old tutor Viglezzi was now dead,\nbut he still remained in the office with\nthe son, Enrico, and his salary had\nrisen to two hundred lire a month, in\nthose days eight pounds. He lodged\nwith Enrico in the house in via Prin-\ncipe Umberto N.° 5, and paid the\nenviably small sum of sixty lire a month\nfor food and lodging. \" Sometimes I\n\n(i) The Teatro Re, designed by Cano•\nnica, was opened December 18\nIt was destroyed about 1876 when the big\nGalleria was built. Its positions was near\nwhat is today the entrance to the Galleria\nin Piazza del Duomo."}, {"page_pdf": 9, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.9", "debut_caractere": 1803, "fin_caractere_exclue": 4310, "texte": "did not pay them all .... but I have\npaid since he writes.\nFor two years Ferravilla's indecision\nas to a career continued, during which\ntime, having takefn a season ticket for\nthe small theatre of Santa Radegonda (2)\nhe was able to frequent that other\nworld which attracted him so strongly.\nAt this time the first idea of founding\na Milanese dialectic theatre was deriving\nencouragement from the success won by\nToselli's Piemontese company which\nhad visited Milano in 1859-60; and\ntowards 1872 a group of Milanese\ngathered together and mapped out the\nbasis of the repertory and the company.\nIn 1870 a home for this work was\nsecured by the purchase of the padi-\nglionc Cattanso, on Corso Vittorio Ema-\nnuele. The old pavilion was pulled\ndown, and the Teatro Milanese was\nbuilt by Carlo Righetti, better known\nin art by the anagrammatic name of\nCletto Arrighi, at a cost of \" not less\nthan eighty thousand lire #\\ Before\nthe theatre was ready to open, Righetti\nwas busy forming his company, offering\nthree or four lire a day to actors; and\nyoung Ferravilla determined to apply\nfor a place, only to find himself im-\nmediately designated as 44 il vero tipo\nd'amoros \", the true type of lover, a\ndistinction which made his 44 blood run\ncold \"# though he dare not dispute the\ndecree. An agreement was come to,\nby which Ferravilla was to be at his\nimpresario's disposal for rehearsals only,\nfrom one till three in the afternoon,\nso that he could continue his work in\nthe Viglezzi office. He could also\ncontinue to rehearse in the evenings\nwith his old friends of the Gustavo\nModena society, and to perform with\nthem on Sundays. In this interval pre-\nvious to the opening of the new theatre\nRighetti was to pay him lire 3.50 a day.\nIn October 1870, owing to the ill-\nness of another actor, he made an\nunexpected debut in a small part as\namoroso, and the next day had to\nlisten to a lecture fiom the excellent\nEnrico Viglezzi, who pointed out em-\nphatically that no one can follow two\ncallings. 44 If you want to stay here\n\" and do as I advise, you can be sure\n44 that in four or five years you will\n44 have a solid position and earn your\n44 three or four thousand a year. If\n44 you want to go and play the pagliaccio\n44 at the teatro Milanese, in fine pieces\n\" like that of last night, you are your\n44 own master. You may possibly die\n44 of hunger and will certainly make\n44 others laugh at you \".\nIt was that eternal voice of routine\n\n(*) Teatro Santa Radegonda was built\nin 1803; it no longer exists as a theatre."}, {"page_pdf": 10, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 2441, "texte": "and too solid, too common sense free-\nzing when faced by the adventure of\nart. Ferravilla temporized for the mo-\nment ; but as was inevitable he left\nthe Viglezzi desk and stool and turned\nwholly to the stage.\nAmong his companions at the Teatro\nMilanese were Sbodio, Gandini, Crespi,\nMilanesi, Caraviti, Giraud, the actresses\nLuigia Prada, Trezzini, Vaghi, and two\nwho both bore the name of Giovanelli.\nIn October 1872 Ferra villa proved\nthat he had greater capacities than\nthose of merely reciting the words\nof others; for, having a very short\npart entrusted to him, he asked leave\nto add an extra scene of his own\ninventing, which obtained great success.\nIn doing this he was but carrying on\nthe best traditions of the European\nstage so clearly stated by Riccoboni\nand Gherardi (3).\nAfter this Ferravilla wrote 44 El sur\nPedrin in quarella \" in four acts which\nwas performed December 2nd 1872:\nRighetti oflered him three hundred lire\nfor the right to give the play for a year,\nand •• full houses \" at the Milanesi\nfollowed on without interruption. Again\nwe see what comes of following the\ntrue tradition.\nThe young actor was still, however,\nbeing cast for the lovers parts, till, in\na play called 44 Dal tecc alia cantina\nFerravilla created for himself the part\nof an old paralytic. Thus came into\nbeing the little old man which later on\nthe actor used in the Scena a sog-\ngetto musicale. 44 Between 1872 and\n1880 \" he writes, 44 all the types of\nmy repertory were bom. I found my-\nself perfectly in agreement with the\nauthors, who not only accorded me the\npart of the protagonist, but called on\nme to collaborate. I was free to mo-\ndify my personage, to caress it and\nstudy it until it seemed to me in per-\nfect equilibrium with my aptitudes \"•\nThe first idea of the celebrated Te-\ncoppa had come to him long before:\n44 Panera \" was another figure to be\ntested here and there, first in a vaude-\nville of his creator's, then in a French\nvaudeville adapted for the Milanese stage,\nin which 44 I recited a soggetto (4) all\nmy part and the whole of the second\nact In this piece, 44 El duel del\nsur Panera Signor Panera, 44 after\nhaving undergone for about a month\nthe retouches suggested in the act of\nrepresentation, took his final shape \"•\n.... Hear, you unbelievers, how it is\ndone. It is grown; it shapes slowly,\nnight by night.\nThe affairs of the company were by\n\n(3) see ,4 The Mask Vol. 111, No. 4.\n(4) Improvising o?i a given subject."}, {"page_pdf": 11, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.11", "debut_caractere": 1827, "fin_caractere_exclue": 4221, "texte": "this time flourishing, but its members\nware discontented, because the manager,\nRighetti, wasted the profits at the rou-\nlette table, and .salaries, low in any\ncase, were being irregularly paid. Fer-\nravilla contemplated making a change,\nbut first proposed to Righetti that he\nwould remain if paid seven lire a day\ninstead of five. Hear again how it\nis done, you unbelievers. But before\nyou can hear you will have to take\nthe wool out of your ears, and se-\ncondly prepare your nerves for this\nawful shock. Five shillings for a ma-\nsterpiece ! Can you face that ?\nAfter a definite refusal, followed by\nnegociations on the part of the ma-*\nnager's friends, Ferravilla was offered\nhis seven lire a day and the receipts\nof one evening a month, and the com-\npany want on as before. Remember\nthis was a superlatively talented actor,\nnot one of the kind who refuse £ 20\na week, £lO a week and wish to\nbe thought great actors.\nAbout this time a certain Signora\nPessina, separated from her hushand,\nbegan to frequent the theatre, and also\nto attest warm admiration for Ferra-\nvilla himself, which soon proved to be\nthe prelude to getting herself admitted\ninto the company, becoming known\nupon the stage as Emma Ivon. A beau-\ntiful woman, with gifts which won her\nfavour with the public, her friendship\nwith Ferravilla continued until her death\nin 1899. '\nMatters with the Righetti Company\nwere still unsatisfactory, and the prin-\ncipal players at last united together to\nconsider a change.\nIt was at this time that Signor Ta-\nlamoni, director of the first Milanese\nCompany, proposed constituting a Fer-\nravilla-Sbodio-Giraud company of which\nhe should be administrator. He was\nto provide scenery, properties and\nother necessaries, he and each of the\nheads should receive ten lire a day (5)\na piece, and Ferravilla was nominated\nartistic director.\nAll was agreed to and the new\ngroup began its performances at the\nTeatro Cressoni at Como in 1876.\nThe repertory consisted of some twenty\npieces; the enterprise flourished, and pro-\nmised brilliantly, when Talamoni died.\nThe company was, however, well\nestablished, and Ferravilla was invited\ntQ undertake the functions of admini-\nstrator as well as of capocomico (6)\nand artistic director.\nThe young manager, now about\n\n(5) You have caught the idea by now>\ndoubtless : the idea that money is not\nthe whole aim of the finer Italian actors.\n(6) Leading actor."}, {"page_pdf": 12, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 2474, "texte": "twenty-nine, had his hands full with\nhis new responsabilities, being obliged,\nby contracts already signed, to tran-\nsport his company first from the teatro\nCommenda at Milano to Lodi, and\nthen for the first time to Napoli.\nThe company prospered; and each\nof the soci (shareholders or societaires)\ntook in every year between three and\nfour thousand lire as well as their sa-\nlaries and the proceeds of their special\n\"benefit\" evenings, Ferra villa in 1879\nwas unanimously accorded by his col-\nleagues twenty instead of ten lire a day.\nThus he, the manager and chief actor,\nwas paid about £ 3.0.0 a week.\nFor many years the company con-\ntinued to perform with uninterrupted\nenthusiasm and with little change in its\nprincipal component parts.\nAround the five principal players\nother and most capable actors were\ngathered, and a high standard conti-\nnuously sustained.\nIn 1880, says Ferravilla, \" all my\n\" comic types were definitively fixed,\n\" and only varied in the phrases with\nu which I presented them to the pub-\nM lie \". So we see that he is at\nwork on his types for thirteen years.\nFerravilla was by now a celebrated\npersonage. Honours began to come\nhis way. In 1888 he was presented\nto King Umberto at the Quirinal, when\nthe King smilingly shook hands with\nhim, and, after indicating his acquain-\ntance with the actor's interpretations,\nsummed up his praise in a genial\nfashion saying, \" After having heard\nM you, the Queen always returns from\n*• the theatre delighted with everything,\n•• and I am grateful to you\nBy the King he was created Ccm-\nmendatore, and came to enjoy the\naffectionate esteem of Giuseppe Verdi,\nG. Ricordi, (head of the great musical\npublishing house of Ricordi), Paolo\nMantegazzi, (who wrote an enthusiastic\neulogy of him as a \" great hygienist \",\ncuring men of the humours of gloom\nand many mortal ills by the sun-like\nsplendour of his art); and many more.\nHis own colleagues, also, presented him\nwith a declaration, recognizing the zea-\nlous and scrupulous way in which he\nhad filled his office both as capocomico\nand administrator.\nSo things went on until 1897.\nFor twenty-nine years Ferravilla had\nbeen the lessee of the Teatro Milanesi,\npaying an annual rent of eight thou-\nsand lire, (then £ 320). The receipts,\nowing to the capacity of the theatre,\ncould not, at ordinary prices, surpass\nnine hundred lire (£ 36) an evening,\nalthough on certain evenings, at higher\nprices, they reached the sum of thirteen\nhundred (£ 52). For an evening in"}, {"page_pdf": 13, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.13", "debut_caractere": 1756, "fin_caractere_exclue": 4339, "texte": "Ferravilla** honour in 1880 they even\nrose as high as fifteen hundred and\nseventy lire (£ 62.15.0). But Ferra-\nvilla was growing tired with the admi-\nnistrative work added to his work as\nan actor, and was seriously considering\nretiring, when an actor named Fran-\ncesco Grossi made him a proposal by\nwhich Grossi was to acquire the ownership\nof the company together with a certain\nsignor De Capitani, and the new orga-\nnization was to be known as the 44 Grossi\nand De Capitani Milanese Company\ndirected by Edoardo Ferravilla This\nproposal Ferravilla accepted.\nFurther changes were brought about\nby the death, first of the actress Co-\nmelli, and then in 1898 at Genova,\nof Emma Ivon. Of the severing of\nthis long association he writes: \" I\n\" found comfort for sorrow in my art.\n4 4 When I act I so merge myself in\n4 4 the personage that I could not betray\n44 myself even if I would. Every phy-\n-44 sical and moral suffering finds it most\n44 effectual remedy for the actor on the\n44 boards of the stage\nBut besides the personal sorrows\nwhich come to all, Ferravilla was beset\nby those annoyances reserved for all\ncelebrated and creative artists : that of\nthe imitators, who in his case persisted\nin presenting his well-known parts with\ntheir own names not very noticeably\nprinted in small type, 44 imitator of ** al-\nmost imperceptibly small, and 44 Edoardo\nFerravilla ** in letters so enormous that\nit left in the minds of the busy public\nthat it was Ferravilla himself they were\nto see. It was the same old monkey-\ntrick from which no art work or en-\nterprise is free today, and Ferravilla\nwas as powerless as the rest to protect\nhimself from this dishonest imposition.\nYoung actors will do well to study\nFerravilla's cwn u credo ** as set forth\nin his little book of Memoirs (7), and\nmeditate upon his experience regarding\ntruth, his 44 unconquerable repugnance\nfor dramatic works in verse \" (as alien\nfrom truth) ; his study of measure (ie,\nmoderation) in word, gesture and cos-\ntume ; his dislike for slap-stick busi-\nness or double entendres to raise laugh-\nter ; his careful observation; in short,\nthat aristocratic quality which he nev< r\nlost even when representing the very\nlowest social types : that immense sin-\ncerity, that unremitting search after\ntruth, that tireless effort after perfection\nby which he disciplined his natural\nexuberance and creative genius, and\nwhich rendered him so distinguished a\nsuccessor of the great comici delVarte\n(44 professional actors **) who were the\nglory of the Italian stage at an earlier day.\n\n(7) Societa Editrice Italian at Mi I a no."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c008", "article_bluemountain": "bmtnaau_1925-04_01#c008", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "62", "page_fin": "62", "image_debut": 14, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.2.4", "titre_corps": "THE STAGE", "titre_sommaire": "THE STAGE", "signature_source": "ERNEST RHYS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 847, "texte": "THE STAGE\nBY ERNEST RHYS.\nWHEN a man becomes a mime\nHe refashions space and time.\nWith his art, he brings his age\nTo an ell-length: that's the stage.\nIn that arm's breadth, all that is\nWas, and shall be, signifies.\nOboe and fiddle play,\nShepherds pipe the livelong day;\nAnd the dancers* rhythmic mirth\nSets a-whirl the clodden earth.\no o o\nIn a mirror, in no more\nThan a man sees thro* a door,\nThere it is, the little space,\nTheatral, the magic place,\nSo depictive, that the maid\nSees herself, and grows afraid,\nAnd the greenness, and cloud-shadow,\nOn the boards deceive the meadow;\nWhile the puppet wakes the dead\nWith the nid-nod of his head,\nAnd the lantern, Lord of Light,\nDrags Medusa out of night:\no o o\nWho can figure, who can tell\nAll that mime-bred miracle ?\nMortals? yes; but there they wage\nArt immortal. That's the stage.\n15 June 1924*"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c011", "article_bluemountain": "bmtnaau_1925-04_01#c011", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "63", "page_fin": "65", "image_debut": 15, "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=bmtnaau192504-01.2.5", "titre_corps": "SHOEMAKER, STICK TO YOUR LAST : LETTER FROM GORDON CRAIG", "titre_sommaire": "SHOEMAKER, STICK TO YOUR LAST : LETTER FROM GORDON CRAIG", "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": 15, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.15", "debut_caractere": 1841, "fin_caractere_exclue": 3999, "texte": "SHOEMAKER, STICK\nTO YOUR LAST.\nA LETTER FROM\nGORDON CRAIG.\n\nMY dear Semar.\nJust a few lines about an important\nthing. In fact about Politics.\nYou do well always to avoid tou-\nching on Politics, for it is too difficult,\ntoo thickly veiled a subject for any but\na rare few outside Parliament and the\nEmbassies anything about, and\nit is not always easy for the politicians,\nand sometimes even tfie few statesmen\nseem though I believe that is\na bit of their Tun.\nIn refusing to allow \" The Mask \"\nto hold any opinion whatever on these\nthings, I take it that you do so from\nprinciple. That principle is 44 Shoe-\nmaker, stick to your last *\\ I have\noften heard you express the opinion\nheld by that large group of moderate\nmen who are not possessed by that\nlow vice curiosity, that there is no\nsounder rule in life than to mind your\nown business.\nYour business is the editing of the\ntechnical opinions, the theories, the\nfacts and fancies old and new about\nthe ancient and modern Theatre and\nyou do right to stick to that and avoid\ntouching on matters which are exci-\nting in quite another way.\nTo the reading public a journal can\nbecome a good friend or it can be\na nuisance. The public is fickle and\nis always searching for new sensa-\ntions.... for it is bored..., it has too\nlittle to d 0.... too little to really inte-\nrest it, and it is too self-indulgent to\ngo on with its own daily work.\nThis reading public is sometimes\napt to take itself a little too seriously\non the strength of being able to read,\nWhen it is able to read two lan-\nguages it takes itself even more se-\nriously ; when it can think a bit, it is\nalways indulging the habit of thought\nand thereby breeding convictions in\nitself: then it becomes a pretty bold\nthinker and 10, Sir Oracle is be-\nfore us !\nNewspapers are sometimes naughty\nthings, but I have grown to like them,\nfor I have come to look on them\nas works of art.\nWhen I see the paintings by Cima-\nbue of Heaven and the paintings by\nOrcagna of Hell I am looking at news-\npapers of the thirteenth and fourteenth\ncenturies.\nCimabue is called by the historians\nthe 44 forerunner of modern art #\\\nExactly : ....the forerunner of writers"}, {"page_pdf": 16, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 2432, "texte": "on 44 The Observer \" and 44 The\nDaily Mail #\\ And what are his pain-\ntings of Heaven on the church walls but\nleading articles to guide and put hope\ninto the public of those days in those\ncities down south, and what Orca-\ngna's paintings of Hell but to put the\nfear of death into the hearts of sin-\nners ? And now in place of the walls\nof a church we have 44 Observer\n44 Mail *\\ 44 Times \", 44 Post \" and\nthe rest, all battling one with the other\nfor the souls of men. 44 This is the\nway they shout; 44 this is the true\npath : ....all else is confusion and folly.\nFollow us !\nWhy, you do it yourself, Semar.\nYou believe as all the other editors\nbelieve, as all the churches believe,\nand for your belief you seem ready\nto give up more than do most.\nBut what you give up at the outset\nis a little tit-bit seldom relinquished ;\nit is that you give up that privilege\nof the press to be free to say what it\nlikes (within reason) about matters it\nis ignorant of, yet, which, if uttered, can\nbut add a trouble more to the world.\nSome things there must be, of which\nan editor and the ablest of staff, the\nmost knowing of contributors, are igno-\nrant : and I have always held that\nPolitics are amongst those subjects made\nespecially to confound the wisest.\nSo I like to see you avoiding all\npolitics in 44 The Mask \", and I hope\nyou will always avoid them and con-\ntinue to give pleasure to more and\nmore people, who are happy to admit\nthat they too know nothing whatever\nabout politics.\nFor my part I know less than\nanyone about them. To me they seem\nto call to their service a few wise men\nand good men and a number of ener-\ngetic men; and when I read that\nLord Balfour has said this or that, I read\nit and pretend to understand and say\nnothing; or when I hear of Lord\nGrey having made a speech I always\nread it and pretend to understand and\nnod my head : and when 1 hear that\nLord Curzon has done this or that\nI pretend to be aroused to action.\nI then take a walk and feel fine*\nIt is as though I were at a play;\nlooking on, 1 hear a remarkable actor\nsaying wonderful things, and another\nmaking a gesture which thrills.\nTo attempt to tell myself what it\nall means,.* what are its final mea-\nnings.**. were not to enjoy the perfor-\nmance. Should an audience stop to\nthink at a performance of 4 Hamlet *\nit would never leave the building.\nFor no one knows what 4 Hamlet *\nmeans; he who thinks he does knows\nnothing. We are in a theatre for a"}, {"page_pdf": 17, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.17", "debut_caractere": 926, "fin_caractere_exclue": 2995, "texte": "short space of time, a few brief hours,\nand we are there to enjoy those brief\nhours or we are not true playgoers.\nAnd without- meaning to be in any\nway flippant, indeed meaning to be\nmost serious, I would say that we\nshould possibly enjoy the brief glimp-\nses any of us get of politics all the\nmore, if we would take it as we take\nthe play ....cease to fight about its\nmeanings and abstain altogether from\nwrangling about its readings.\nWhether the 2nd witch in 4 Mac-\nbeth ' should say 44 Cool it with a\nBaboon's blood \", or, 44 Cool it with a\nDragoon's blood \" is certainly not easy\nto decide.\nSo much hangs in the balance twixt\nBaboon and Dragoon.\nAnd besides is this 2nd witch ;\nor a misprint for 3rd witch ? Which\nwitch must always give us pause. There\nare three witches, namely Ist, 2nd\nand 3rd; but then there is Hecate\nthat makes four ; and there is a large\ngroup of super-witches, 44 Black spirits\nand grey, pink spirits and grein\nAnd besides, possibly the printer of\nthe first folio made even more errors\nthan he himself was aware he was\nmaking.\nWho knows ?\nCj Well, as there is always someone\nwho will be wise enough to be pleased\nif we take him to be a fool, so, let us,\nwhen at a theatre or before the poli-\ntical situations of the day and hour,\njoin his company and be content to\nknow no more than he.\nThere is a passage from this play of\n4 Macbeth ' which I find the wisest in\nall Shakespeare, and the most solemn\npassage I know in all literature (1).\nAnd here it is:\nAll three witches. Seek to know no more.\nMacbeth. I will be satisfied: deny me this,\nAnd an eternal curse fall on you I Let me\n\\know\\z\nWhy sinks that cauldro?i f and what noise\n[/> this f\nFirst witch. Show!\nSec. witch. Show !\nThird witch. Show!\nAll. Show his eyes, and grieve his heart;\nCome like shadows, so depart I\nYou are not thrilled, Semar ?\nWhy, as I write it out I turn cold\nand hot and, as the last word dies\naway I seem to see as it were a whole\nworld grieved to death by obstinately\nand cockily demanding to be satisfied\nabout all things.\nYours,\n(i) Act IV, Scene /.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c012", "article_bluemountain": "bmtnaau_1925-04_01#c012", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "67", "image_debut": 18, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.2.6", "titre_corps": "THE UNIVERSITIES AND THE DRAMA", "titre_sommaire": "THE UNIVERSITIES AND THE DRAMA", "signature_source": "ALLARDYCE NICOLL", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4316, "texte": "THE UNIVERSITIES AND THE DRAMA\nBY ALLARDYCE NICOLL.\nTO some readers of The Mask the title\nof this article may appear a trifle ridi-\nculous. I have often heard artists, drama-\ntists and actors sneering at the University,\nor else politely refraining from the expression\nof any definite opinion as to its worth. By\nmany the University is regarded as a hin-\ndrance to the development of a true artistry;\nit is condemned as a creator of memories\ninstead of talents ; it is regarded as a cram-\nming-house for students whose only aim is\nthe passing of examinations and the putting\nof B. A. after their names.\nAll this criticism is true; but is it the\nwhole truth, and nothing but the truth ? I may\nbe prejudiced, but I think it is not. The\nfundamental purpose of a University is not\nthe training of students for an examination,\nbut the disseminating of a genuine culture.\nThe aim of the professor should be, not the\npouring of facts into the heads of his students,\nbut the broadening and enlightening of their\nminds. In the midst of an essentially mate-\nrialistic age, the University ought to stand for\nidealism, for internationalism and for this richer\nculture which is the very flower of civili-\nsation.\nConsidered in this light, the future of the\ndrama is, partly at least, in the hands of the\nUniversities. The students who are being\nyearly turned out in their thousands will form\na portion of the audiences which go to swell\nthe theatres, and, because of their training,\ntheir influence will probably be greater than\nthat of similar non-university sections among\nthe spectators. The drama of every period\nand of every land depends ultimately upon\nthe audience. It was a great audience which\nproduced ./Eschylus and Sophocles; it was\na great audience which produced Shake-\nspeare. The ruder elements among the spec-\ntators (and, in speaking of ruder elements\nI am not by any means thinking of social\nclasses) assuredly always outnumber those of\nmore cultured and imaginative tendencies;\nbut that disparity is made up for by the\nfact that a strong body of cultured opi-\nnion, sure of its own purpose and self-con-\nsciously asserting itself, will ever have power\nover a heterogeneous body of unthinking, un-\ntrained and mentally licentious minds.\nTo help in the preparation of this intel-\nlectual and imaginative leaven among the\naudiences of the future I take to be the first\ngreat task of the University. Only during\nthe comparative leisure of their student days\ncan men and women find time to study and,\nfrom their study, to appreciate, the principles\nwhich underlie all permanent artistic advance\nin the world of the theatre. Only then can\nthey acquire that historic background from\nwhich is born the philosophic judgment and\nthe truly critical taste. Only then can they\nlearn what exactly the Greek stage stood for,\nfor what the mediaeval pageant, and for what\nthe Globe and the Fortune. Once given this\nhistorical background, they are ennabled in\nthe future to test by surer and more compe-\ntent standards any manifestations of new ar-\ntistry which the producer, the playwright or\nthe actor may have to bring to them.\nThe question may here be asked how\nthis consummation (most devoutly to be wish-\ned !) may be brought about. The answer\nis two-fold ; by the efforts of the Universities\nand by the efforts of the artists. The more\nthe artist sneers at the University, the more\nthe University will tend towards traditional\nand hidebound methods. Let the artist come\ninto the University, let him take his place in\nthe developing of that cultured side of aca-\ndemic work, which, after all, is its chief task.\nThe University itself, so far as my own expe-\nrience goes, is only too ready to co-operate.\nIn America special study has been devoted,\nnot merely to the drama, but to the problems\nof the producer, so that Professor Baker's\nname is now of more than national import.\nAt Manchester there is a lectureship in dra-\nmatic art; and at London there was esta-\nblished last year a new Diploma in Dramatic\nArt calculated to appeal to those who wished\nto devote their lives to the service of the\nstage. Small manifestations, perhaps, but none\nthe less symbolic of a change from the time\nwhen the Colleges dealt out only Latin and\nGreek with dry doses of traditionalized science.\nThese new manifestations, however, will not"}, {"page_pdf": 19, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3684, "texte": "lead to anything greater unless they are sup-\nported by those who have the cause of the\ntheatre at heart. The University in its own\nway has made the gesture of willingness to\ncooperate; that gesture has not yet been suf-\nficiently replied to.\nThere are, of course, many ways in which\nthe Universities may assist in the spreading\nof this cultural spirit. Students' dramatic so-\ncieties, if they are well managed and if they\nare accorded some patronage from within the\nwalls of the theatre, help in their own way\nto train the minds of those who participate\nin their activitios and to give the historic\nbackground. It is useless for students to keep\nringing the changes on Patience and Pinafore\nand modern farce; but where attempts are\nmade to perform hitherto unproduced works\nor to revive forgotten masterpieces of the past,\nthe service. done to the theatre may be inesti-\nmable. But again, these performances must\nreceive encouragement. It is all very well\nfor professionals to sneer at amateurs ; but it\nmust be remembered that the Abbey Theatre\nwas originally an amateur play-producing so-\nciety—nay, more, that the mediaeval theatre,\nitself, for many centuries, was upheld entirely\nby non-professional actors and by amateur\nplaywrights. The students' dramatic society,\ntherefore, might well receive encouragement\nand assistance, if necessary, from those whose\nprofession is connected with the drama in\nany of its multifarious forms.\nFinally, there is one thing which a Uni-\nversity may do, a thing unique and peculiar\nto itself; it may provide the materials upon\nwhich principles of the drama can be based.\nThose materials, in spite of the immense bulk\nof literary matter produced on Shakespeare\nand on Shakespeare's contemporaries, are fre-\nquently lacking for the student who goes out\nof the direct highway in the realm of the\ndrama. Not only have continental influences\nnot been fully traced, the very influence of\nearlier upon later English drama has not been\nmapped out. The bibliographical and stati-\nstical records have either to be sought for\nlaboriously by each individual student or else\ndone without, for even such compilations as\nGenest's Account of the English Stage are\nboth sketchy and inaccurate. One task of\nthe University, therefore, ought to be to ga-\nther together all the materials which may be\nuseful to the student of the drama or of the\ntheatre, classify that material and make it ge-\nnerally accessible. I myself am engaged with\nsome twenty students in the preparation of an\nelaborate Dictionary of the Drama; but this\nis only one of the many similar endeavours\nwhich might be undertaken by a University.\nThe University might well establish dramatic\nmuseums (such as already exist in America)\nwhere the development of theatrical art may\nbe studied through the models exhibited,\nwhere amateurs of the drama may be able to\nsee the Greek, the Mediaeval, the Rena-\nscence and the modern stages placed side by\nside, and so may be aided in securing both\nan historical survey of theatrical development\nand a philosophic judgment concerning the\nprinciples of setting and of playhouse structure.\nIt is fitting that I should make this ap-\npeal through the pages of The Mask, f°r in\nThe Mask I see that union of scholarship\nand artistry which may yield great fruit for\nthe theatre in the future. If the academic\nscholar remembers for a moment that the\ndrama is not a thing for dull dissection but a\nliving and vital organism; if the artist forgets\nfor a moment his hatred of the (for him) nar-\nrowing tendencies of University work ; a\nmove forward may be made towards a new\nappreciation both of what the theatre stands\nfor, and of what it may stand for in the\nfuture."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c014", "article_bluemountain": "bmtnaau_1925-04_01#c014", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "70", "image_debut": 20, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.2.7", "titre_corps": "THIS LITTLE THEATRE", "titre_sommaire": "THIS LITTLE THEATRE", "signature_source": "C. G. SMITH", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4405, "texte": "THIS LITTLE THEATRE\nBY C. G. SMITH\n\nBAKST\nTHE great Bakst is dead: and the famous\nRussian Ballet loses the last hope of\nregaining an important lost element.\nWhen Diaghileff came to Paris and London\n\" The Mask \" was not able to find special\nreason for becoming extatic in praise of the\nBallet or its Bakst: but it could and did ap-\npreciate that all the hysterical praise voiced\nby Paris was becoming to Paris.\nIt was so natural for Parisians to recog-\nnize and respond to this product of the\nNear East, for it could also do something in\nthat line, so it could praise without becoming\nridiculous. Whereas for a Public which to-\nlerates, nay, appreciates, the London Theatre\nfare as does the London Public for twelve\nmonths a year, suddenly to pretend to have\nappreciated the famous Russian is not a little\nridiculous. It is another case of the Maud\nAllen, Beggars Opera, Chauve Souris fever,\nwhen the patient becomes inarticulate for a\nperiod, and all friends are anxious.\nHad the world never known greater dan-\ncers I could well understand a fine enthusiasm\nfor Pavlova, Karsavina, Nijinski and the others.\nThe twentieth century having seen the very\ngenius of Dance, it seemed to \" The Mask \"\nan exaggeration to confuse genius and talent.\nThat M. Diaghileff had genius as an im-\npresario, was the only genius in the group,\nmust be counted as at least fifty per cent\ntowards the success of this famous Ballet.\nHe had the superb knowledge of the refined\nmaster-showman. He knew so well how to\nsell that which the world thrills to buy. And\nexamples of this exotic thing he brought with\ninfinite care from a land which could produce\nsome of the most vivacious men and women\nin Europe. These he decked beautifully out\nin Parisian finery, and he calls on Bakst to\naid,... and Bakst did wonders. There was\nno one who could deck out dancers as he\ncould; there were few, if any, who could\ncontrive sceneries to match as he could. He\nwas a painter. I admit it: and I will also\nallow that painters of worth rarely leave their\nart to descend to the stage; but Bakst did\nso; and, descending to it, he took there such\nriches that the discerning public began to\nwonder whether the stage had not gone back\na century and a half to that great epoch\nwhich the elder Bibiena inaugurated at his\nbirth in 1657, and which Gonzaga closed\nin 1831, (dying at St. Petersburg, by the way).\nFor it is never to be forgotten that Bakst,\nas a scene painter, remained true to the old\ntradition. Supposedly a revelation,... some-\nthing quite new, he was really doing what\nhad been done before, and done superbly\nbefore; and now he came along and repeated\nit almost as superbly.\nHe was a scenic reformer of a stage\nwhich had grown feeble, and commonplace\nin the stupid sense of the word: he allied\nhimself with Benois, with Fokine and with\nthe musicians; the performers, the dancers,\nwere collected together, and all these remarka-\nble Russians united by their Russian leader\nDiaghileff, who was deteimined to make a\nvery real Russian effort.\nThis was in Moscow before anything had\nJ\nbeen heard of them. What happened? How\nwas this determination and this enthusiasm\nmet by their countrymen? Was it scouted?\nwere they derided,... or ignored perhaps ?\nOn the contrary. Russians were found who\nwere prepared to finance them to success\nRussian determination and talent found imme-\ndiate response from the gentlemen of Russia,\nand this in spite of the damning evidence that\nthey were all positively artists or experts.\nNo great dancer such as Isadora Duncan\nwas in their ranks: no first rate genius of any\nsort; but all of them were spirited, deter-\nmined, and very much aware of the high\nstandard that they were sworn to reach: all\nwere antagonists of the humdrum but highly\nrespected cosmopolitan ballet of their own land.\nThey were in fact rebels, but revolting to a\ngood end. Had they been English, had some\nlike spirit revealed itself in London, there\nwould have been no financial support even if\nthe spirit had revealed itself five or fifty years\nin advance of the Russians.\nSo it became Englishmen to praise these\nartists,... those Englishmen who preferred not\nto stand by their own men. It was essentially\na fine democracy, this group known as the Rus-\nsian Ballet; and so it was no surprise that as it\nwandered through Spain, France, England and\nelsewhere, it picked up new recruits. Unfortu-\nnately, when it added Picasso, Bakst seemed"}, {"page_pdf": 21, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4537, "texte": "to fall off. In fact as it added internationals\nof all kinds, the Russians broke away. So it\nceased to be the Russian Ballet, and indeed\ndeserves to be known by the simpler and\nprouder title of The Ballet.\nI do not recall the exact order of deser-\ntion and I do not know what sound reasons\nthe deserters offered for running away; but I\nseem to remember that the first to bolt was\nthe charming Madame Pavlova. Later\nNijinski skedaddled: then Bakst, Karsavina\nand others. The great impresario was left\nin the lurch. That was quite living down to\none of the traditions of the stage at its worst\nperiods.... tradizione traditore.\nThere are quite a number of wonderful\ndivisions and subdivisions in our Tradition.\nThe main division is simple: Good tradition,\nBad tradition: and 1 can but admit that to\ndesert a leader is one of the worst items in\nthe section Bad tradition.\nI regret that 1 cannot see any way of ac-\ncepting any reason which Madame Pavlova\nor Nijinski could possibly offer me for desert-\ning the flag raised by Diaghileff. Yet the\nsame old excuses doubtless were offered.\nIt is the Director's prerogative to engage\nwho he will, arrange what he will, manage\nhow he will. Once a performer or an artist\ntakes service under any Director whatever\nit is his and her duty to remain faithful to\nhim to the end. Even when he falls or\nfaints, as many a leader has been known to,\nthe followers must be staunch. All else is\nsecondary; and failing this sense of duty all\nmust fail. Followers must never question a\nleader they themselves have chosen to follow.\nThe Theatre would do well today to\nstudy a little its History. In Italy, in France,\nRussia, Germany and England the best efforts\nof great men of the Theatre have been ren-\ndered vain by the lack of discipline in their\nfollowers.\nI do not want to seem hard, but I have\nto say a very bitter thing, and it is only\nbitter because it is true. The first to desert\nhave usually been the leading ladies.\nI can find every excuse that you can, and\nI can cap these with two or three more which\nperhaps will not occur to you; but when\nevery excuse has been found I come back\nto my despest conviction regarding our little\nworld of the Theatre; which is that with the\nadhesion, the fidelity, of all to the director\nand leader, and with a real sense of disci-\npline, our Stage can achieve what a nation,\nan army, or a navy achieves in the day of\nperil. It can pluck undying victory and ever-\nlasting glory for its cause and its people.\nAnd until our European stage comes to\nknow this once and for all, it can achieve\nmerely petty victories, win only personal\nlaurels, and these are plucked and won yearly\nand fade with the years.\nI do not know how it was that Bakst\ncame to accept service under other banners\nthan Diaghileff's, but it was, and it remains,\na grievous pity that his work was ever seen\noutside the magic circle of the Russian\nBallet. I know nothing about this falling away\nand I am not curious to know. Neither do\nI know how the perfect Sicilian actress Signora\nMimi Aguglia came to separate herself from\nGiovanni Grasso. Why did Musco ever\ndream of leaving that genius? No one admires\nthe good Musco more than I do, but I do not\nadmire his retreat. I admire no retreats.\nAnd why do a hundred of the best desert\ntheir leaders every ten years? The most I\nmay say is this. These leaders make no call,\nremembering that the world is old and tired\nand that self-interest is a mighty passion : so\nat the last they come to say \" these people\nare not worth keeping.... let them go .\n\" Not worth keeping \" is not strictly true;\nit is but partially true. Looked at as one\nlooks at a coveted bicycle in a shop window\nit may be true\nI don't think I want it; besides I can get\nanother any where any day\nPerhaps the people are not actually worth\nkeeping; to have to tempt them to stay by\ncontinually raising their salaries.... to have to\nblow spirit into them.... fresh force and will\nto abide faithfully, proves them a little poor.\n\" But then \", asks one of them, \" why stay\nfaithful if not wanted?''\nAnd here we touch the top of the que-\nstion.... It is not I, or you, not Irving, not Dia-\nghileff, who wants anyone: —it is the Theatre\nand Duty wants them and these managers re-\npresent Theatre and Duty. And that is the\nfinal argument which none of us must deny.\nTo Bakst this did not occur.... how could\nit. He must have felt the pull of the Thea-\ntre; it is an attractive siren. Yes, assuredly\nhe felt attracted. Its call drew him gradually\nout of his studio.... away from his canvasses..."}, {"page_pdf": 22, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4398, "texte": "away from his art. He was a painter, won\nover to the Theatre.\nCompare him with Callot the French\nengraver. In Callot we have an example of\na man utterly enamoured of the stage and\nDrama and to the finger tips galantaomo.\nWith what courtesy does this immense\nlittle genius approach the benches at the back\nof the hail. One hears him saying \" Permit\nme \" they all make room for him. En-\nchanted, absorbed, he sits the entertainment\nthrough: when he leaves it is not to go and\nhob-nob with the performers and amuse the\nactresses with sketches for a new costume.\nWhen he leaves it is to record what he has\nseen, never to put on airs: he is too great an\noutsider. These little records of his are more\nfamous and more valuable than all the cos-\ntume designs by Berain, and do our European\nTheatre more honour than all the Dramatic\ncriticisms (in two volumes) by Bernard Shaw.\nAnd they set an example to others outside\nthe theatre how to come to look at the Theatre,\nand how to gallantly abstain from any closer\nintimacy unless you are one of the troupe....\nunless you belong to the tribe.\nI suppose it is quite as clear to many\nanother as it is to me, that one is not an\nEnglishman unless one be born of British\nparents: and in like manner one cannot be a\nTheatre man unless one is born of it.\nTo become naturalized, to adopt a country,\nis possible; but even then, unless with immense\ngrace and with unrelaxing attention to cere-\nmony, surely the performance is gawkish and\nrenders nil the result. To adopt a land and\nto once forget oneself, to speak of \" our\nland \".... no, 1 think that finds us out. And\nto leave the art of painting to which one is\nborn and which, except for its parent archi-\ntecture, is entirely self-contained and complete\nby itself, and to push one's way into some\nother art is not necessarily to play the amateur\nbut it is to forget an essential fact.\nAnd it is not quite good manners.\n1 will take Constantin Stanislawsky as an\nexample of what I mean. Here was a mer-\nchant cloth was I believe what he manu-\nfactured. One day he is attracted towards\nthe Theatre, then drawn into it; becomes an\namateur actor.... quietly passes through a door\ninto the professional playhouse; finally becomes\ndirector; reaches to the highest position; but\nnever for a day does he forget that, somehow\nor other, he is still a guest. So he passes here\nand there, carrying with him a grace, a certain\nmodesty, a way, which seems to say in every\ngesture, every phrase and every look, \" How\nhonoured I am, how happy I am, to be allowed\nto be one of you\nHis is an irrisistible charm.... and sun or\nrainy weather it is ever the same. 0)\nTo the painter Bakst no such grace had\ncome. And so he never rose to the position\nStanislawsky won to. He is not what theatre\npeople call \" one of us \" as Stanislawsky will\never be.\nAnd just as Stanislawsky felt as he did,\nand acted as he did, so does he, now that he\nis become one of the foremost leaders of our\nmodern Theatre, demand of his followers the\ngrace to serve and obey.\nWith what result? The tale is too sad to\ntell; but there are six chapters in it which are\nsuperb.\nAt the head of these chapters I would\naffix five names and there many be more.\nLILINA. KNIPPER. MOSQUIN.\nKATCHALOFF. SOULERGITZKY.\nand there are probably more chapters.\nThese are the names of two of his actresses,\ntwo of his actors, and one stage manager.\nThis fidelity of theirs is outstanding in the\nannals of the European Theatre.\nIt is this fidelity, this esprit de corps, this\nduty to the Stage, through discipline to the\nleader, that is needed in the whole European\nTheatre world if it is to advance.\nThe European Stage is advancing, but\ntoo slowly. Will the English ever come to\nrecognize this ? Why should such a great\nnation with so colossal a sense of loyalty, fail\nso in loyalty in the Theatre.\nI accuse an influential minority among our\nworkers of an inability to understand the word\nDuty and to endure. And I say that until every\none in the theatre's ranks will come to under-\nstand and to endure, the work, while it may be\ngood or bad, or indifferent as it is today, will\nsuffer, and the calling will become a paltry\none. It will remain the Little Theatre.\nLeon Bakst was one of the greatest figures\nin this Little Theatre.\nTo be continued.\n(1) Irving, not born of theatrical parents, cleaves im-\nmediately and once and for all to the theatre: and ran\nno business in tandem."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c015", "article_bluemountain": "bmtnaau_1925-04_01#c015", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "70", "image_debut": 20, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.2.7.1", "titre_corps": "BAKST", "titre_sommaire": "BAKST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.20", "debut_caractere": 36, "fin_caractere_exclue": 4405, "texte": "BAKST\nTHE great Bakst is dead: and the famous\nRussian Ballet loses the last hope of\nregaining an important lost element.\nWhen Diaghileff came to Paris and London\n\" The Mask \" was not able to find special\nreason for becoming extatic in praise of the\nBallet or its Bakst: but it could and did ap-\npreciate that all the hysterical praise voiced\nby Paris was becoming to Paris.\nIt was so natural for Parisians to recog-\nnize and respond to this product of the\nNear East, for it could also do something in\nthat line, so it could praise without becoming\nridiculous. Whereas for a Public which to-\nlerates, nay, appreciates, the London Theatre\nfare as does the London Public for twelve\nmonths a year, suddenly to pretend to have\nappreciated the famous Russian is not a little\nridiculous. It is another case of the Maud\nAllen, Beggars Opera, Chauve Souris fever,\nwhen the patient becomes inarticulate for a\nperiod, and all friends are anxious.\nHad the world never known greater dan-\ncers I could well understand a fine enthusiasm\nfor Pavlova, Karsavina, Nijinski and the others.\nThe twentieth century having seen the very\ngenius of Dance, it seemed to \" The Mask \"\nan exaggeration to confuse genius and talent.\nThat M. Diaghileff had genius as an im-\npresario, was the only genius in the group,\nmust be counted as at least fifty per cent\ntowards the success of this famous Ballet.\nHe had the superb knowledge of the refined\nmaster-showman. He knew so well how to\nsell that which the world thrills to buy. And\nexamples of this exotic thing he brought with\ninfinite care from a land which could produce\nsome of the most vivacious men and women\nin Europe. These he decked beautifully out\nin Parisian finery, and he calls on Bakst to\naid,... and Bakst did wonders. There was\nno one who could deck out dancers as he\ncould; there were few, if any, who could\ncontrive sceneries to match as he could. He\nwas a painter. I admit it: and I will also\nallow that painters of worth rarely leave their\nart to descend to the stage; but Bakst did\nso; and, descending to it, he took there such\nriches that the discerning public began to\nwonder whether the stage had not gone back\na century and a half to that great epoch\nwhich the elder Bibiena inaugurated at his\nbirth in 1657, and which Gonzaga closed\nin 1831, (dying at St. Petersburg, by the way).\nFor it is never to be forgotten that Bakst,\nas a scene painter, remained true to the old\ntradition. Supposedly a revelation,... some-\nthing quite new, he was really doing what\nhad been done before, and done superbly\nbefore; and now he came along and repeated\nit almost as superbly.\nHe was a scenic reformer of a stage\nwhich had grown feeble, and commonplace\nin the stupid sense of the word: he allied\nhimself with Benois, with Fokine and with\nthe musicians; the performers, the dancers,\nwere collected together, and all these remarka-\nble Russians united by their Russian leader\nDiaghileff, who was deteimined to make a\nvery real Russian effort.\nThis was in Moscow before anything had\nJ\nbeen heard of them. What happened? How\nwas this determination and this enthusiasm\nmet by their countrymen? Was it scouted?\nwere they derided,... or ignored perhaps ?\nOn the contrary. Russians were found who\nwere prepared to finance them to success\nRussian determination and talent found imme-\ndiate response from the gentlemen of Russia,\nand this in spite of the damning evidence that\nthey were all positively artists or experts.\nNo great dancer such as Isadora Duncan\nwas in their ranks: no first rate genius of any\nsort; but all of them were spirited, deter-\nmined, and very much aware of the high\nstandard that they were sworn to reach: all\nwere antagonists of the humdrum but highly\nrespected cosmopolitan ballet of their own land.\nThey were in fact rebels, but revolting to a\ngood end. Had they been English, had some\nlike spirit revealed itself in London, there\nwould have been no financial support even if\nthe spirit had revealed itself five or fifty years\nin advance of the Russians.\nSo it became Englishmen to praise these\nartists,... those Englishmen who preferred not\nto stand by their own men. It was essentially\na fine democracy, this group known as the Rus-\nsian Ballet; and so it was no surprise that as it\nwandered through Spain, France, England and\nelsewhere, it picked up new recruits. Unfortu-\nnately, when it added Picasso, Bakst seemed"}, {"page_pdf": 21, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4537, "texte": "to fall off. In fact as it added internationals\nof all kinds, the Russians broke away. So it\nceased to be the Russian Ballet, and indeed\ndeserves to be known by the simpler and\nprouder title of The Ballet.\nI do not recall the exact order of deser-\ntion and I do not know what sound reasons\nthe deserters offered for running away; but I\nseem to remember that the first to bolt was\nthe charming Madame Pavlova. Later\nNijinski skedaddled: then Bakst, Karsavina\nand others. The great impresario was left\nin the lurch. That was quite living down to\none of the traditions of the stage at its worst\nperiods.... tradizione traditore.\nThere are quite a number of wonderful\ndivisions and subdivisions in our Tradition.\nThe main division is simple: Good tradition,\nBad tradition: and 1 can but admit that to\ndesert a leader is one of the worst items in\nthe section Bad tradition.\nI regret that 1 cannot see any way of ac-\ncepting any reason which Madame Pavlova\nor Nijinski could possibly offer me for desert-\ning the flag raised by Diaghileff. Yet the\nsame old excuses doubtless were offered.\nIt is the Director's prerogative to engage\nwho he will, arrange what he will, manage\nhow he will. Once a performer or an artist\ntakes service under any Director whatever\nit is his and her duty to remain faithful to\nhim to the end. Even when he falls or\nfaints, as many a leader has been known to,\nthe followers must be staunch. All else is\nsecondary; and failing this sense of duty all\nmust fail. Followers must never question a\nleader they themselves have chosen to follow.\nThe Theatre would do well today to\nstudy a little its History. In Italy, in France,\nRussia, Germany and England the best efforts\nof great men of the Theatre have been ren-\ndered vain by the lack of discipline in their\nfollowers.\nI do not want to seem hard, but I have\nto say a very bitter thing, and it is only\nbitter because it is true. The first to desert\nhave usually been the leading ladies.\nI can find every excuse that you can, and\nI can cap these with two or three more which\nperhaps will not occur to you; but when\nevery excuse has been found I come back\nto my despest conviction regarding our little\nworld of the Theatre; which is that with the\nadhesion, the fidelity, of all to the director\nand leader, and with a real sense of disci-\npline, our Stage can achieve what a nation,\nan army, or a navy achieves in the day of\nperil. It can pluck undying victory and ever-\nlasting glory for its cause and its people.\nAnd until our European stage comes to\nknow this once and for all, it can achieve\nmerely petty victories, win only personal\nlaurels, and these are plucked and won yearly\nand fade with the years.\nI do not know how it was that Bakst\ncame to accept service under other banners\nthan Diaghileff's, but it was, and it remains,\na grievous pity that his work was ever seen\noutside the magic circle of the Russian\nBallet. I know nothing about this falling away\nand I am not curious to know. Neither do\nI know how the perfect Sicilian actress Signora\nMimi Aguglia came to separate herself from\nGiovanni Grasso. Why did Musco ever\ndream of leaving that genius? No one admires\nthe good Musco more than I do, but I do not\nadmire his retreat. I admire no retreats.\nAnd why do a hundred of the best desert\ntheir leaders every ten years? The most I\nmay say is this. These leaders make no call,\nremembering that the world is old and tired\nand that self-interest is a mighty passion : so\nat the last they come to say \" these people\nare not worth keeping.... let them go .\n\" Not worth keeping \" is not strictly true;\nit is but partially true. Looked at as one\nlooks at a coveted bicycle in a shop window\nit may be true\nI don't think I want it; besides I can get\nanother any where any day\nPerhaps the people are not actually worth\nkeeping; to have to tempt them to stay by\ncontinually raising their salaries.... to have to\nblow spirit into them.... fresh force and will\nto abide faithfully, proves them a little poor.\n\" But then \", asks one of them, \" why stay\nfaithful if not wanted?''\nAnd here we touch the top of the que-\nstion.... It is not I, or you, not Irving, not Dia-\nghileff, who wants anyone: —it is the Theatre\nand Duty wants them and these managers re-\npresent Theatre and Duty. And that is the\nfinal argument which none of us must deny.\nTo Bakst this did not occur.... how could\nit. He must have felt the pull of the Thea-\ntre; it is an attractive siren. Yes, assuredly\nhe felt attracted. Its call drew him gradually\nout of his studio.... away from his canvasses..."}, {"page_pdf": 22, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4398, "texte": "away from his art. He was a painter, won\nover to the Theatre.\nCompare him with Callot the French\nengraver. In Callot we have an example of\na man utterly enamoured of the stage and\nDrama and to the finger tips galantaomo.\nWith what courtesy does this immense\nlittle genius approach the benches at the back\nof the hail. One hears him saying \" Permit\nme \" they all make room for him. En-\nchanted, absorbed, he sits the entertainment\nthrough: when he leaves it is not to go and\nhob-nob with the performers and amuse the\nactresses with sketches for a new costume.\nWhen he leaves it is to record what he has\nseen, never to put on airs: he is too great an\noutsider. These little records of his are more\nfamous and more valuable than all the cos-\ntume designs by Berain, and do our European\nTheatre more honour than all the Dramatic\ncriticisms (in two volumes) by Bernard Shaw.\nAnd they set an example to others outside\nthe theatre how to come to look at the Theatre,\nand how to gallantly abstain from any closer\nintimacy unless you are one of the troupe....\nunless you belong to the tribe.\nI suppose it is quite as clear to many\nanother as it is to me, that one is not an\nEnglishman unless one be born of British\nparents: and in like manner one cannot be a\nTheatre man unless one is born of it.\nTo become naturalized, to adopt a country,\nis possible; but even then, unless with immense\ngrace and with unrelaxing attention to cere-\nmony, surely the performance is gawkish and\nrenders nil the result. To adopt a land and\nto once forget oneself, to speak of \" our\nland \".... no, 1 think that finds us out. And\nto leave the art of painting to which one is\nborn and which, except for its parent archi-\ntecture, is entirely self-contained and complete\nby itself, and to push one's way into some\nother art is not necessarily to play the amateur\nbut it is to forget an essential fact.\nAnd it is not quite good manners.\n1 will take Constantin Stanislawsky as an\nexample of what I mean. Here was a mer-\nchant cloth was I believe what he manu-\nfactured. One day he is attracted towards\nthe Theatre, then drawn into it; becomes an\namateur actor.... quietly passes through a door\ninto the professional playhouse; finally becomes\ndirector; reaches to the highest position; but\nnever for a day does he forget that, somehow\nor other, he is still a guest. So he passes here\nand there, carrying with him a grace, a certain\nmodesty, a way, which seems to say in every\ngesture, every phrase and every look, \" How\nhonoured I am, how happy I am, to be allowed\nto be one of you\nHis is an irrisistible charm.... and sun or\nrainy weather it is ever the same. 0)\nTo the painter Bakst no such grace had\ncome. And so he never rose to the position\nStanislawsky won to. He is not what theatre\npeople call \" one of us \" as Stanislawsky will\never be.\nAnd just as Stanislawsky felt as he did,\nand acted as he did, so does he, now that he\nis become one of the foremost leaders of our\nmodern Theatre, demand of his followers the\ngrace to serve and obey.\nWith what result? The tale is too sad to\ntell; but there are six chapters in it which are\nsuperb.\nAt the head of these chapters I would\naffix five names and there many be more.\nLILINA. KNIPPER. MOSQUIN.\nKATCHALOFF. SOULERGITZKY.\nand there are probably more chapters.\nThese are the names of two of his actresses,\ntwo of his actors, and one stage manager.\nThis fidelity of theirs is outstanding in the\nannals of the European Theatre.\nIt is this fidelity, this esprit de corps, this\nduty to the Stage, through discipline to the\nleader, that is needed in the whole European\nTheatre world if it is to advance.\nThe European Stage is advancing, but\ntoo slowly. Will the English ever come to\nrecognize this ? Why should such a great\nnation with so colossal a sense of loyalty, fail\nso in loyalty in the Theatre.\nI accuse an influential minority among our\nworkers of an inability to understand the word\nDuty and to endure. And I say that until every\none in the theatre's ranks will come to under-\nstand and to endure, the work, while it may be\ngood or bad, or indifferent as it is today, will\nsuffer, and the calling will become a paltry\none. It will remain the Little Theatre.\nLeon Bakst was one of the greatest figures\nin this Little Theatre.\nTo be continued.\n(1) Irving, not born of theatrical parents, cleaves im-\nmediately and once and for all to the theatre: and ran\nno business in tandem."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c016", "article_bluemountain": "bmtnaau_1925-04_01#c016", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "79", "image_debut": 23, "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=bmtnaau192504-01.2.8", "titre_corps": "HOW DOCTORS WERE SATIRIZED IN THE ANCIENT THEATRE", "titre_sommaire": "HOW DOCTORS WERE SATIRIZED IN THE ANCIENT THEATRE", "signature_source": "CESARE LEVI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4314, "texte": "HOW DOCTORS WERE\nSATIRIZED IN THE\nANCIENT THEATRE\nBY CESARE LEVI.\n\n\" r\\OCTOR, I have pain in the stomach,\nI / headache, and cramps in the legs.\nWhat is it?\" \"—Sir, it is ....twenty francs\nThe anecdote is old : it was attributed\nto one of the doctors taken as model by Mo-\nliere for his I'Amour medicin.\nIn every farce of the ancient theatre—\nfrom the Italian ones of the Arte (professional\ntheatre) to Moliere's Midecin lui—\nthere is a lazzo which consists in feigning to\nrefuse the money for the consultation: the\npretended doctor, whether he be called Ar-\nlecchino, Sganarelle or Crispino, while pro-\ntesting his disinterestedness to the foolish old\nman, father of the pretendedly sick girl (\" I\nhave not done it for gain, I will never ac-\ncept any money \"), holds out his hand, and,\nhaving received the money, asks, after having\ncounted the coins. \" are they good ones ?\nAlso in a Spanish intermezzo of the se-\nventeenth century, II dottore . Borrego, there\nis a reference to the venality of the doctors\n\" Bleed her, purge her and ....give the\nmoney \".\nThe satirizing of medical men is of an-\ncient origin and we find it as far back as\nthe Pluto of Aristophanes and in two works\nby Luciano.\nIn mediaeval times the doctor was con-\nfused for the most part with the fisico, the\nastrologer and the magician. In a French\nMystery of the XIII century, the Jeu\nou de la Fruillee by Adam de la Halle, a\nphysician heals of the \" disease of avarice \"\n(an illness which clinics have completely ne-\nglected !) But in general, in the Mysteries\nand the Moralities, medical men very rarely-\nappear upon the stage: for the most part\nit is the Saints and their reliquaries which\nare charged with miraculous healings: in\nthe aforesaid Jeu d'Adam a friar jingles the\nbell and displays the relics of Sant'Acario :\nto recover it suffices to touch them and give\na small sum; (not even then, it appears, were\nconsultations gratuitous !).\nIn the Mistero di S. Pantaleone of the\nfifteenth century there is a reference to what\nwas defined as invidia medicorum the\nworst medical envy : Eustore decides that his\nson Pantaleone shall be a doctor, and to that\nend takes him to Mastro Morin, a pagan,\nwhom he is to assist for seven years, earning\nthe sum of ....10 lire; (the assistants of to-\nday do ill to complain of their stipends!).\nPantaleone makes the acquaintance of the\npriest Ermolao, who converts him to Chri-\nstianity, and, \" without either medicine or\nherbs \", with merely the sign of the Cross,\nhe will be able to heal all the sick: but\n\"Mastro Morin, seeing that he heals a gouty\nman, is jealous of the success of his pupil,\ndenounces him to the Emperor as a Chri-\nstian, and has him decapitated.\nNot only in the theatre, however, were\nmedical men ridiculed. Who does not recall\nthe Doctor Tant pis, \" much-worse \", and\nthe Doctor Tant mieux, \" much-better \" of\nLa Fontaine's fable entitled \" Les Medicins \" ?\nBut the favourite place for jests against\nmedicine and its ministers was always the\ntheatre.\nThe actor Mondori improvises his pa-\nrades \" against the Chemists and the Medi-\ncal men \", and Guillot-Gorju, after having\nstudied medicine at Montpellier, sets out to\ntour the world with the strolling operators\nwho were, so to speak, the connecting link\nbetween the doctor and the actor; and finally\nenters the Hotel de Bourgogne, where he so\nwell produces the caricature of the doctors\nthat they themselves are forced to laugh at it.\nGuillot-Gorju wanted to prove in his Apo-\nlogia, that, in changing profession, he was\nnot taking a downward step: the one was as\ngood as the other: charletans both, one for-\nmerly a doctor could well play the buffoon.\nAfter eight years of the stage he returned to\npractising medicine at Melun.\nMoliere in his youth saw Guillot-Gorju\nat the Hotel de Bourgogne, and, in his farces,\nrevived the type of the medicin ridicule\nwhich was, as one would say today, a ' for-\ntunate ' type; but, developing it with greater\nsynthetic power, and setting it down with\npitiless exactitude, he succeeded in gathering\ntogether, in his later plays, all the defects,\nthe weaknesses, the vanities, of the medical\nmen of his time.\nAs for that, in all those farces which Mo-\nliere witnessed, from the French to those of\n(the Italian) comici dell'arte, jesting about\ndoctors was all the fashion : and I should be"}, {"page_pdf": 24, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4461, "texte": "tempted to transcribe the plot of some of\nthese were I not restrained by respect for\nthe most elementary decency : for which the\nancient actors had none too much respect.\nIt would be too long to analyse all the\ncomedies of the French theatre in which the\ndoctor is gaily bantered : from the farse of\nthe Femme mute (Dumb woman) of Rabe-\nlais, to Les Tromperies (The Deceptions) of\nLarivey, among the many precursers of Mo-\nliere who handled this subject, not on one\nsingle occasion is the doctor treated with any\nbenevolence. In the Clarice or Amour con-\nstant (constant Love), a medical man, \" a\ngreat donkey in his speech and doctor in La-\ntin 7, plays the gallant with a young woman\nwho has him beaten till he bleeds.\n\" Doctor yourself 1 \" says the Sganarelle\nof the \" Medicin malgre lui \", almost as\nthough it were a term of insult.\nAnd, to turn from the French theatre, one\ncan recall a satire on doctors in maccheronic\npoetry by an Italian Jesuit of the beginning\nof the seventeenth century, Bernardino Stefo-\nnio, intitled Maccaronis Forza.\nThe \" intermezzi \" of Cervantes are full\nof satires against doctors. In a comedy by\nLope de Vega, \" The Vapours, or The deli-\ncate Girl \", Belise, hearing that among the\nsuitors for her hand there is a medical man,\nexclaims, \" I marry a doctor! I sleep with\nthe fever! the very thought of it makes me\nshiver !\nAs, in the Commedia dell'arte, the Dot-\ntore and the Capitano, so in the old French\nfarce the medical man, was thus the type\neternally made fun of; was almost always the\nsynonym of pedantry and ignorance.\nThe wig was one of his characteristics ;\nand so also the beard, which, according to\nMoliere, \" is half the Physician \".\nThe dress, however, was of austere cut\nand always black: and towards the middle\nof the reign of Louis XIV the physicians\nabandoned the characteristic pointed cap in\nthe form of a candle-extinguisher, and adop-\nted the bourgeois dress, and, in winter, the\nmuff. The poorer among the physicians made\ntheir visits on foot, the others went their\nrounds on a mule.\nWhat was the cause of Moliere's ani-\nmosity against the physicians of his time?\nPrincipally his own illness, which embit-\ntered his existence, and brought him to\nthe grave amid indescribable sufferings, at only\nfifty-one years of age.\nMoliere, notwithstanding his robust aspect,\nwas always of delicate health. His life was\nshortened by the exertions of the stage and by\namorous abuses : \" you ought to abstain first\nfrom acting and then from the actress \" is\nthe advice given him by the author of the\nElomire hy ou Les Medecin\na satiric play directed against him, in which\nElomire is the anagram of Moliere.\nIncurably sick, he could not, therefore,\npardon the physicians their impotence.\nFrom his very first farces, today forgotten,\nMoliere jests about venal and charletan phy-\nsicians : in the le Docteur amoureux Geronte\nthreatens a woman : \"You will burst \" ; and\nshe : \" I am not among your patients \" ; a jest\nrepeated a few lines lower down : \"You make\nme forget my patients \", say Geronte, and the\nother replies : \" I am doing them a good turn \".\nAlso in Y Amour medecin Lisette expres-\nses the same faith in the disciples of Escu-\nlapius : \" what do you want with four doc-\ntors ? Is one not enough to kill a person ?\nI knew a man who proved, with good argu-\nments, that one ought never to say, such and\nsuch a person is dead of a fever and a flux\non the chest, but: he is dead of four doctors\nand two apothecaries \".\nSo far, however, there is no departure\nfrom the coarse joke, repeated in a hundred\nfarces, of the doctor who kills the sick man ;\nan eternal jest still in high favour on the\ncontemporary stage.\nIn the \" Dottor Borrego \" already refer-\nred to, the servant Lorenzo replies to the\nphysician: \"I know that thanks to you the\nprice of graves has gone up, and that in the\nmatter of graves you have worked some mar-\nvellous cures \". And, in another intermezzo\nof the seventeenth century, by one Bena-\nvente, (not to be confused with the author of\n\" Anima allegra \"); \" what must one do to\nprevent a physician from killing the patient ? \"\n—\" Not give him into his care \".\nBut so great a castigator of the vices and\nweaknesses of society as was Moliere could\nnot be content with such facile jesting: the\npupil of Gassendi, who in his every work\nattacked the dogmatic pedantry or the false\nscholars, he could not remain indifferent be-\nfore the charlatanism and ignorance of the\nmedical men of his time."}, {"page_pdf": 27, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4564, "texte": "One might however suppose that animo-\nsity against those who had not known how\nto cure him had led Moliere to unjust esti-\nmates of medicine and physicians: but it is\nnot so! Moliere's plays could be taken as a\ncompendium of the history of Medicine in\nthe seventeenth century: many farces, which,\nunder their bantering tone, might seem para-\ndoxical or ironic, are but the exact expres-\nsion of a fact which really occurred, or of a\nmode of thinking of the physicians of that\nday.\nThe exposition of the Galenic theories is\nset forth by the First Doctor of the Sieur de\nPourceaugnac in away which could not be\nbettered: the rigmaroles upon nature, the\ncauses and symptoms of the \" hypochondriac\nmelancholy \", seem copied, even in the ap-\npropriateness of the vocables, from a treatise\nof Riviere, one of the celebrities of the fa-\nculty of Montpellier, sworn enemy of blee-\ndings and partesan of purges and emetics.\nMoliere, with his \" humeurs peccants \", his\n\" vapeurs acres et corrompus \" the \" fuligi-\nnes, epaisses et crasses \" which rise, from the\nintestines, the mesentery, or the spleen, to-\nwards the noble regions of the brain and of\nthe heart, does but recopy the scientific ter-\nminology of his time.\nThus when, in the \" I'Amour medicin \",\nMoliere makes Doctor Bahis say that \"it is\nbetter to die according to the rules than to\nrecover against the rules \", he is not seeking\nan effective phrase to provoke laughter, but is\ntranscribing what one of the most celebrated\nphysicians of his time, Gui Patin, narrates in a\nletter; that is, that when a sick man reco-\nvered without having observed the prescrip-\ntions of the doctor, there were endless squab-\nbles at the Faculty.\nWhen Sganarelle, medecin malgre lui,\nsays that the heart is on the right and the\nliver on the left, and, to the opposition of\nGeronte, replies, \" Yes, it was so once, but\nwe have changed all that \", Moliere is re-\nferring to a case of inversion encountered\nin 1650 and recorded in the \"Gazette de\nFrance \".\nIn the \" Malade Immaginaire \" Diafoirus\nthe father praises his son for being \" blindly\nattached to the opinions of the ancients, and\nnever having wished to understand nor listen\nto the arguments and experiences of the pre-\ntended discoveries of the century on the cir-\nculation of the blood and other opinions out\nof the same sack\nIt was the time of jWilliam Harvey's great\ndiscovery regarding the circulation of the\nblood. The Faculty of Paris, traditionalistic\nto excess, opposed this as every other new\nidea.\nAlso in semiology they were much behind\nin the time of Moliere, doctors not examining\nthe sick person save very superficially. On the\nother hand the questioning was detailed to\nexcess ; Moliere as usual parodies it in the sce-\nne of Toinette in the \" Malade Imaginaire\nThe mania for basing oneself on the an-\ncient authors was likewise characteristic of the\nepoch: the authority of Hypocrites and Ga-\nlen was irrefutable. The characteristic trait\nof the doctors of Moliere is pedantry: the\ncomplicated and confused language of Sga-\nnarelle, the emphatic and bombastic talk of\nThomas Diafoirus, being copied with pre-\ncision : there is not a single dissertation which\nMoliere puts in the mouth of one of his per-\nsonages which is not conformable to the spirit\nand language used by the Faculty: it is a\ncontinual satire of the scholastic method and\na protest in favour of experience.\nAlso in the remedies used by the physi-\ncians of that time there was no great variety,\nas we are instructed by the ceremony in the\n\" malade immaginaire \" ; the three sole re-\nmedies for every kind of disease are (in the\nmaccheronic Latin used by Moliere) clyste-\nrium donare; postea seignare ; ensaita purgare.\nAs for the first cure, I ask pardon of my\nreaders if I am obliged to treat of an instru-\nment so inelegant and of such intimate na-\nture : but, speaking of Moliere, how could I\ndo less ? Not for nothing was such an ap-\npliance called, in the translation recently made\nof the \" Treatise of Clysters \" by Regnier de\nGraaf, published in 1668, \"L'instrument de\nMoliere \" ; and all will recall the procession\nof apothecaries, armed with their inseparable,\nand, let us say, professional, tool, in that ge-\nnial buffoonery, \" Le Sieur de Pourceaugnac\".\nPurges were in great honeur specially\nwith the faculty of Montpellier:\nThe abuse of such remedies was a cha-\nracteristic of the French medicine °f the\nSeventeenth century : in a single year there\nwere inflicted on Louis XIII by his doctor :\n215 doses of medicine; 212 clysters, and\n47 blood-lettngs. And Louis XIV in fifty-"}, {"page_pdf": 28, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 4559, "texte": "nine years had to swallow down more than\ntwo thousand purges; (it must be, however,\nremembered that he was a formidable eater).\nSganarelle of the \" Medecin malgre lui \",\nwho orders bleeding even against future illnes-\nses, satirises very wittily one of the leading\n•medical men of that period. The lancet came\ninto action for every slightest indisposition :\nin 1633 Cousinot, first doctor to the king,\nwas bled sixty-four times in eight months, by\nthe order of his father and his father-in-law,\nfor articular rheumatism; then they began\nwith purges. \" The idiots that do not un-\nderstand our calling \", wrote Gui Patin,\n\" imagine that there is nothing else to do\nsave to purge, but they deceive themselves \":\nand he has no regard either for sex or for\nage. A medical man, Guy de la Brosse, re-\nfuses to be bled, and dies: listen to the fine\nfuneral epitaph which Gui Patin pronounces\non him: \"The devil will bleed him in the\nother world, as a rascal and athiest of his\nsort deserves\nBut, to dethrone the lancet, until then so-\nvereign ruler, a new cure sought an entrance\ninto the medical practice of that time; and\nthis was the antimonio discovered by an al-\nchemist friar of the fifteenth century, Basile\nValentin. It was a new Hundred Years War,\nfor, making its first appearance in 1566, it\nwas only in 1666 that the antimony cure re-\nceived its official consecration.\nThat which most favoured the fortune of\nantimony was the recovery of the King.\nLouis XIV fell ill during the Flanders cam-\npaign ; was transported to Calais ; a consul-\ntation is held by the doctors, who see all the\nsymptoms of typhoid. Naturally they are all\nagreed as to bleeding; but the King will\nhave none of it. Mazarin then sends in haste to\nCalais his own doctor, Guenaut, who admini-\nsters to the King the emetic wine, and the King\nrecovers. Guenaut immediately becomes cele-\nbrated, and antimony the fashionable remedy.\nGuenaut proved, however, less fortunate\nwith his patron Mazarin, so that there was\ncirculated about him this egigram: that, in\nsaving the life of Louis XIV and causing the\ndeath of Mazarin, antimony had twice saved\nFrance. And, as further proof of how much\nbeloved Mazarin was, it is related that a car-\nter, seeing Guenaut, said: \" Let Monsieur le\nDocieur pass: it is he who has done us the\nkindness of killing the Cardinal\".\nThe consultation, which took place at\nVincennes, at the bedside of the dying Ma-\nzarin, between the four Court doctors, Gue-\nnaut, Des Fougerais, Brayer and Valot, one\naffirming that the Cardinal's disease was in\nthe liver, another in the mesentery, the third\nin the spleen and the fourth in the lungs,\nseems to have served as model to Moliere for\nthe famous consultation scene of the\nMedecin.\nThe four doctors of Moliere's play, who\nare concerned with everything save with the\nsick man, and who, when they finally speak,\nare not agreed, are copied from the four doc-\ntors of Louis XIV. Guenard, who had the\ndefect of stammering, would seem to have\nbeen the Macroton of the YAmour Medecin.\nDes Fougerais was changed into Desfonan-\ndres, deriving that is, from the Greek, ' slayer\nof men '; Brayes was changed into Bahis,\nand Valot into Tomes, from the Greek \" ta-\ngliase, incidere \", that is, to let blood\nIt was Mazarin who rendered the doctors\nyet more venal by putting up for auction the\noffice of physician to the King : Valot paid\n30,000 scudi for the office.\nAfter the death of Henrietta, Queen of\nEngland, this sanguinary epigram was circu-\nlated about Valot: \" The daughter of the\ngreat Henry had, in dying, the same misfor-\ntune as her father and her husband. All\nthree died by the assassin's hand: Ravaillac,\nCromwell, medico; Henry by a bayonet\nthrust, Charles on the block; and now Hen-\nrietta dies of the ignorance of Valot \".\nThe Court doctors usually, through love\nof gain, ended by losing a little of their per-\nsonal dignity; they had to endure the sar-\ncasms and reproofs of the powerful whom\nthey served. The Diafoirus of Moliere's play,\nan unadulterated representative of the mode\nof thinking of the Faculty, prefers that his son\nshould not become Court doctor, because at\nleast, with the public, \" so long as one fol-\nlows the rules of the profession \", one never\nhas to answer for one's own actions; where-\nas \"that which is most annoying with the\npowerful is that, when they fall ill, they wish\nat all costs that the doctor should cure\nthem\nFilerin in the YAmour , who re-\nproves his colleagues for squabbling before\noutsiders, recalls to mind the continual quarrels\nwhich took place at the Faculty, between"}, {"page_pdf": 31, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4506, "texte": "physicians and surgeons, between doctors of\nParis and doctors of Montpellier, and bet-\nween the doctors of the Faculty itself.\nIn Filerin Moliere perhaps wished to re-\npresent his own medical attendant.\n\" Moliere, have you a physician? \" asked\nLouix XIV one day, \" and what use do you\nmake of him? \"\n\"We chat together: he orders me some\nremedies, I do not take them, and I re-\ncover \".\nMoliere's doctor, Armand Mauvillain,\nwas godson of Cardinal Richelieu. Of a re-\nbellious, irascible, impetuous character, he of-\nten had squabbles, with the Faculty: no\nsooner is he nominated doctor than he trans-\ngresses the express order \" to offend no one \",\nand has to apologize to the Faculty united in\nsolemn assembly, under pain of having his\ndegree cancelled.\nOn another occasion he is expelled from\nthe Faculty for having snatched, in full con-\nclave, the cap from the head of his enemy\nBlond el, when this latter was dean of the\nFaculty. And he got into yet greater trou-\nble for having signed, together with eleven\nother doctors, the approbation of a medica-\nment of a charletan of the public square, a\ncertain Hieromyno Ferranti of Orvieto, known\nas \" l'Orvietan **, a name which in the end,\nby extension, was given to the medicament\nitself: on this occasion also, expelled from\nthe Faculty, he was obliged to humble him-\nself and ask pardon in full conclave.\nThere was cause enough why a man of\nnone too easy character, as was Mauvillain,\nshould seek in every way to be avenged on\nhis persecutors. While Moliere was gleaning\namong the medical men of his time all their\nweaknesses, vanities, defects and .vices, Mau-\nvillain, his friend, supplied him with impla-\ncable exactitude in regard to the \" technical \"\nmatters of medicine and what might have\nescaped even the most acute observer: in\nthis grandiose, immortal satire on the Medi-\ncine of the Seventeenth century there is thus\nthe association of two rancours : the incurably\nsick man avenges himself with weapons fur-\nnished to him by the most undisciplined of\nthe doctors of the Faculty.\nBut, for Moliere to have been able thus\nopenly to banter the very doctors of the\nCourt itself, it was essential that he should\nfeel himself supported hy the King. And\nLouis XIV was, in this respect, like the\nhumblest of mortals; he found vast amuse-\nment in laughing at the ignorance of the me-\ndical men, save when he summoned them to\nhis bedside for the slightest indisposition.\nHis is that celebrated mot after the perfor-\nmance of the Malade Imaginaire: \" The\ndoctors have been making us weep long\nenough for them at least sometimes to make\nus laugh \".\nAnd, on coming out after the \" Berenice \"\nof Racine, Louis XIV, alluding to the ac-\ntions of the protagonist, is reported to have\nsaid to his first Doctor; \" I have been on\nthe point of sending for you to aid a princess\nwho desired to die without knowing how \".\nSince ridicule of the doctors does not\ncease even at the steps of the throne, is it\nlikely that the actors would forego it. And\nnaturally the long, solemn and bureaucratic\nceremonies through which a candidate had to\npass before becoming \" Doctor in Medicine \"\ncould not escape the satire of Moliere.\nThe famous burlesque ceremony of the\n\" Malade imaginaire \" finds its exact coun-\nterpart in real life. In this ceremony the co-\nmic poet synthesizes the most characteristic\nand significant traits of the ceremonies, at\nwhich the candidate had to take part, from\nthe beginning of his studies until he took his\ndegree : the Praeses of the comedy was no-\nthing else than the Vesperia, save that this\nceremony did not take place on the same day\nas the taking of the oath, as Moliere was im-\npelled by scenic exigencies to make it; the\nthree articles of the solemn oath likewise cor-\nresponded to reality, save the second, which,\ntreating of a religious question (of the obli-\ngation of the doctors to attend the masses of\nthe Faculty), Moliere could not bring upon\nthe stage, and so he substituted, instead, the\noath to hold on every occasion the same opi-\nnion as the ancients, whether that were good\nor bad.\nSo also the beating which Sganarelie re-\nceives and gives, in the \" Medecin malgre\nlui \", where he declares that he was made\ndoctor in such manner, is an ironic allusion\nto the blow on the cap which the candidate\nreceived from the president in the act of pla-\ncing upon his head the square cap as docto-\nral symbol. At Montpellier, where the cli-\nmate is warmer, this ritual gesture was perhaps\nless solemn but more energetic, for the can-"}, {"page_pdf": 32, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4597, "texte": "dictate received from his new colleagues, in\nthe guise of congratulations, a hail of blows.\nAlso the maccheronic Latin used by Mo-\nliere was a scenic requirement, for the Latin\nused by the doctors in their discussions and\ntheir theses was, on the contrary, Latin of the\npurest, and, not infrequently, very elegant.\nMoliere falls into but one anachronism,\nwhen, to the neo-doctor, he accords the right\nto \" cut, bleed, etc \", while it is well known\nthat such more humble office was reserved\nto the surgeons and barbers : in fact, accor-\nding to the oath of Hypocrites, the physi-\ncians were expressly prohibited from cutting.\nEvery eccentricity of the medicine of the\nperiod finds its burlesque commentary in some\nplay by Moliere : so that when Sganarelle,\nin the \" Medecin malgre lui \", orders the\npeasant Perrin, to cure his hydropical mother,\n\" a piece of prepared cheese, in which is\ncontained some gold, coral and pearls, and a\nquantity of other precious things \", he is ma-\nking fun of the polypharmacy, in great vogue,\nespecially at Montpellier, and does but re-\ncopy a prescription from the Farmacopea dei\nDogmaiici \" Pharmacopoeia of the dogma-\ntists \" by J. de Chesne, wherein, to fortify\nthe heart, \" some leaves of gold, coral, pearls,\nand amber \" are prescribed; while Louis XIV,\nby order of Valot, took pills in which were\nincluded gold, pearls and coral.\nAnd in his last play Moliere, by that\ntime disillusioned, distrustful of the doctors\nand their cures, and on the verge of death,\nattacks medicine itself with this boulade, which\nhe puts in the mouth of Beralde: \" I see\nnothing more ridiculous than a man who\nwants to intermeddle to cure another \".\nAfter Moliere's death the doctors were\nstill not left in peace by the comic poets: in\nfact the majority found nothing better than\nto press home the most applauded satires\nagainst the medical body; but, after such a\nmodel had been set up, what could they\nsay that had not been already said ?\nIt was for the most part in farces, repre-\nsented at the Theatre Italien, that the same\nold themes are served up afresh.\nIn the \" Regal des Dames \", Arlecchino,\ndressed as an operator, wishes to extract a\ntooth for someone who is not suffering, \" be-\ncause of the pain that might seize him \".\nIn the \" Arlecchino, chevalier du soleil \"\nby Nolant de Fatonville, Pascariello counsels\nArlecchino to become a doctor : \" It is a\nmost lucrative calling. Look how much the\ndoctor earns when he is in fashion for the\ngout! He has taken more than two hundred\nthousand francs, and knows no more than\nyou \". And Arlecchino replies, \" He must\nknow very little then, because I know not-\nhing Pascariello. \" This will not prevent\nyou being a skilful physician \". Arlecchino.\n\" Are you joking? I don't know how to read,\nor write \". Pascariello \" It doesn't matter, I\ntell you. It is not the learning that makes\nthe successful doctor, it is effrontary and gab.\nIn the \" Ombre de Moliere \" by Brecourt,\nthe doctors come to demand vengeance on\nMoliere for the disdain which he has always\nmanifested for their illustrious corporation, and\nthere occurs this retort, which enlightens us\nregarding the authors' intentions : \" How de-\nsirable would it be to become beasts when\nwe fall ill! But how much reason there\nwould be for fear, were there to be found\nas many doctors among the brutes as there\nare brutes among the doctors ! \"\nIn \" Les Desirs \" Arlecchino, to follow\nthe rules of Hypocrites which teach that one\nshould intoxicate himself once a month, does\nso three times a week so as to make no\nmistake.\nIn the \" Arlequin, Empereur de la Lune \"\nby Noland de Fatonville, Columbine asks if\nin the moon also the doctors kill the sick\npeople, and, at the affirmative reply, exclaims.\n\" It is just the same as here \".\nIn the \" Brontolone \" (the Grumbler) by\nBrueys, the old jest of Bacon is resumed : a\nminister, enraged at having been deprived of\nhis office declares, \" since they prevent me\nfrom exercising my office \" \"I shall be the\ncause of death to more than a hundred men....\nI will become a doctor \".\nIn the \" Moliere, comedien aux Champs\nEly sees \" by Bordelon, a sick man says to Sca-\npin, the doctor, (who is reassuring him by\nsaying, ' fear nothing ') : \" Believe me, when\nthe, sick tremble it is not with fever, as peo -\npie would have it believed; but for the fear\nwhich the doctor, and all his terrible train,\ninspires in them \".\nIn \"La femme medecine \" by Montfleury\nthere is the \" medicin simpatique (an al-\nlusion to the charletan Digby), who cures\nfever by putting the nail parings and the hair\"\ncuttings of the sick person in a tree in such"}, {"page_pdf": 33, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 1545, "texte": "wise that this latter takes the fever and the\nman is left free.\nAnd, finally, in a play by Saint-Evre-\nmond, intitled 44 Les Operas \", there is this\ndefinition of medicine, to which Moliere him-\nself might have appended his signature : 44 a\nscience of conjectures, in which the doctor\nmay well not believe himself; and Mayerne,\nthat great doctor, was wont to say that cun-\nning was the surest part of medicine\nIt may be asked how it was that the\ndoctors never replied to such bitter and vio-\nlent attacks; how the Faculty, so jealous of\nits prerogatives, so cavilling and so easily ir-\nritated, never sought in some way to defend\nitself against the accusations which were\nbeing continually launched at it from the thea-\ntre stages by the comic authors, from Mo-\nliere to the most obscure among the comici\ndelVarte.\nIt was because the doctors knew hardly,\nor not at all, the plays in which they were,\nalmost daily, ridiculed : of such attacks they\nhad no information save by hearsay: they\nnever went to the theatre : a doctor, as also\na magistrate, who should have presented him-\nself at the play would have been pointed at\nand discredited by all; no client would have\nagain called him in.\nThus any -doctor, who should feel bored\nby having to take his wife to the theatre,\ncould today invoke the authority of tradition :\nand, to her insistences, could always reply,\n44 go this evening to the Manzoni ? But do\nyou really want to see me dishonoured ? .\nThis essay, in an amplifiedform, appears in Dr\nVolume u Studii Molieriani Ed, Sandrony Palermo,"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c017", "article_bluemountain": "bmtnaau_1925-04_01#c017", "volume": "bmtnaau_1925-04_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=bmtnaau192504-01.2.8.1", "titre_corps": "VENETIAN MARIONNETTES", "titre_sommaire": "VENETIAN MARIONNETTES", "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=bmtnaau192504-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 292, "texte": "VENETIAN MARIONNETTES.\nTwo of the figures of the Marionnette Theatre taken to her new home by\nLoredana Grimani on her marriage with Francesco Morisini, 1772, and now\nin the Museo Correr in Venice. One of the figures shows a costume of the stage\nDoctor at that period (see pp. 71-76).\nPlate 7."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c020", "article_bluemountain": "bmtnaau_1925-04_01#c020", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "80", "image_debut": 33, "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=bmtnaau192504-01.2.9", "titre_corps": "WHICH PARIGI... WHICH BIBIENA", "titre_sommaire": "WHICH PARIGI... WHICH BIBIENA", "signature_source": "JAN VAN HOLT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.33", "debut_caractere": 1547, "fin_caractere_exclue": 3000, "texte": "WHICH PARIGI...\nWHICH BIBIENA\nBY JAN VAN MOLT.\nTHE Exhibition at the Victoria and Al-\nbert Museum of the original pen and\nwash drawings by Inigo Jones for the Masques\nof Ben Jonson, and the publication of a very\nfine 44 Descriptive Catalogue \" of these Jones\ndrawings by the Walpole and Malone Socie-\nties, was quite a little event in the annals of\nthe English Stage but one which I understand\nthe English Stage had serious reasons for wish-\ning to ignore. However, I was delighted with\nwhat I saw when I went over to London last\nyear.\nAn Inigo Jones does not grow on every\nbush in England, or in Holland for that matter;\nneither on 17th century bushes nor on those\nof today.\nBut it seems that there were numbers of\nsuch masters in Italy in the 16th and 17th\ncenturies, ....and many more in the 18th cen-\ntury. Their names, well known in their own\nland, are beginning to be known in Holland\nand England at last. For example, it is not\nseldom today that one hears of Parigi, of\nSerlio6; and the name Bibiena is today uttered\nalmost as often as was Raphael's yesterday.\nThere is perhaps some danger in being\ntoo quick in passing round a name, for there\nis the possibility that more than one Parigi,\nmore than one Bibiena may have existed.\nAnd indeed there were four of the name\nParigi. You correct me with 4 three * ? No,\nthere were at least four. Three of these were\nscenographers and the fourth seems to have\nbeen an engraver. There were more than eight"}, {"page_pdf": 34, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 2752, "texte": "Bibienas, and fully eight were scenographers,\nnot including the first one of that name who\nmay or may not have painted sceneries.\nBut if it be dangerous to dash in with a\nParigi here and a Bibiena there, how peri-\nlous to attempt any dash at all, when the ar-\ntist one would speak of has not even handed\non his name to us on his design.\nI am thinking of two drawings both of\nwhich are unsigned ; the drawing at the head\nof this article and the one reproduced as\nPlate 8 and I, for one, am not going to\nbegin flourishing the word \"probable \". There\nis perhaps some justification for genuine his-\ntorians such as Chambers or Brunelli telling\nus what they consider \" possible \" and what\n\"probable\", for they are men who have\ngiven the world serious contributions to the\nHistory of the Dramatic Art and should be\nprivileged to be \" garrulous to the last\nBut I feel a little selfish regret that even\nsuch scholars should deign to patch their fabric\nwith any \"possibles\" and \"probables\", since\nthese are the only two rags left for the am-\nateur historian to shiver in.\nAnd I am only one of these amateurs,\nand when I begin to hold forth on such\nmatters it is only my false white beard (per-\nfectly joined, 1 admit) which can attract\nanyone's attention or command admiration.\nFor I, like* Gordon Craig, am forced to\nadmit that I am no historian: I really do not\nknow how it is done, this historiography.\nHistrionics are my concern, and I have\nacquired a far greater familiarity with the tools\nthan the tomes of the craft, and this teaches\nme some ordinary truths as to why stage\ndrawings are thus or thus, which more learned\nmen might be apt to overlook.\nThe first thing, for example, which I\nlearn is that if a young man of twenty-five\nand called Parigi is doing remarkably well at\nthe craft of scene-painting, it's ten to one he\nhad a father who was pretty good at it too:\n....then I do not lose time in admiring as a\nmiracle what I have learnt is a quite natural\nproduct.\nAnd if Bibiena ever existed, I like to look\nup where he lived and when and so I\nstumble across the fact that there weVe more\nthan eight Bibienas.\nThen I look at drawings attributed to the\nfather and the brother and the sons, and the\nfun begins.\nReal historians do this, of course but\nTheatrical critics seldom do this. Every Dra-\nmatic Critic will in future know there are four\nParigis and eight Bibienas for I have told them\nso .... but how many knew it yesterday?\nWell, we all study these things a bit,\nhere in Haarlem.\nThe design at the head of this article is reproduced from\na sepia drawing in pencil and pen for a scene in an opera,\n{circa 1700). The design is Italian. The original drawing is\nin the collection of Mr Gordon Craig, who has kindly allowed\nus to reproduce it. Ed."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c023", "article_bluemountain": "bmtnaau_1925-04_01#c023", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "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=bmtnaau192504-01.2.10", "titre_corps": "TWO WORDS ON LOYALTY TO A CAUSE", "titre_sommaire": "TWO WORDS ON LOYALTY TO A CAUSE", "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": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.34", "debut_caractere": 2754, "fin_caractere_exclue": 3823, "texte": "TWO WORDS ON\nLOYALTY TO A CAUSE\nOffered for the consideration of our Readers in relation\nto \" This Little Theatre to be found on page 68.\n\" ... To such men as concern me in any way I wish\nsuffering, desolation, sickness, ill-treatment, indignities of\nall kinds. I wish the misery of the defeated. I have no\npity for them ; because I wish them to have the oily\nthing which to-day proves whether a man has any value\nor not, namely, the capacity of sticking to his guns.\nNietzsche.\n\" Come, he who stays at home is a coward. I pro-\nmise you weariness, hardships and battles. But we will\nconquer or die.\n\" Fortune, who betrays us to-day will smile on us to-\nmorrow. lam going out from Rome. Let those who\nwish to continue the war against the stranger, come with\nme. I offer neither pay, nor quarters, nor provisions. I\noffer hunger, thirst, forced marches, battles and death.\nLet him who loves his country in his heart, and not with\nhis lips only, follow me Garibaldi.\nSUCH IS THE LOYALTY WHICH\nTHE THEATRE, THAT OTHER WORLD,\nREQUIRES OF US TODAY\nIF IT IS TO REALIZE ITSELF."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c025", "article_bluemountain": "bmtnaau_1925-04_01#c025", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "88", "image_debut": 35, "image_fin": 42, "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=bmtnaau192504-01.2.11", "titre_corps": "THE PLAN OF ROMA : FOREWORD", "titre_sommaire": "THE PLAN OF ROMA : FOREWORD", "signature_source": "GIOVANNI BATTISTA NOLLI ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4752, "texte": "THE PLAN OF ROMA\nFOREWORD\nBY GIOVANNI BATTISTA NOLLI, 1748\nJ. S.\n\nIN the last number of \" The Mask toe reproduced,\non a reduced scale, the whole of this celebrated\nplan in twenty-four full page plates, adding one of\nthe two lists of reference made by Nolli.\nWe now reprint (as promised). Nolli's second table\nof references, the alphabetical one.\nAt the close we publish a letter receioed from the\nSuperintendent of the Royal Archives of Roma, which,\nlike others received, testifies to the appreciation, widely\nmanifested, of the service \" The Mask \" has rendered\nto students in publishing the reproduction of this Plan.\nALPHABETICAL INDEX OF THE PLAN\nEXISTING ANTIQUITIES\nAcqua Juturna 1056\nAcquedotto delPacqua Verg. 233\nAcquedotto di Claudio Imp, 1063\nAcquedotto di Claudio Imp, 25\nAnfiteatro Castrense 20\nAnfiteatro Flavio d.° il Colosseo 936\nArco di M. Aurelio Imp. 353\nArco di Costantino Magno 935\nArco di Neron Claudio Druso 948\nArco di Gallieno Imp. 41\nArco detto di Giano 1053\nArco dal Volgo detto de' Pantani 124\nArco di Settimio Severo 96\nArco eretto da' Negozianti & Setti-\nmio Severo 1054\nArco di Tito Imp. 73\nArgine di Tarquinio 44\nBagni di Agrippa, e sue ruine 164\nBagni di Paolo, e sue ruine 119\nCarcere Mamertina, oT sia Tulliana 921\nCasa dal Volgo detta di Pilato 1091\nCastello delPacqua Marzia detto i\nTrofei di Mario 37\nCastro Pretorio 202\nCirco di Flora, e sue ruine 209\nCirco Massimo, e sue vestigie 1058\nCloaca Massima 1088\nColonna antica 925\nColonne antiche 1023\nColonna di M. Aurelio Imp. 310\nColonna Antonina giacente 340\nColonna gi& del Tempio della Pace 48\nColonna Traiana 113\nColonne tre antiche Scanellate 928\nColosseo 936\nConserve delle Terme Diocleziane 200\nConserve delle Terme Antoniane 1065\nConserve delle Terme di Tito 33\nCuria Ostilia, e sue ruine 959\nEmporio, e sue ruine 1070\nForo di Nerva, e Colonne anticlie 123\nForo Palladio, o di Nerva, e sue\nruine 85\nMausoleo d'Adriano, or Castello\nS. Angelo 1319\nMausoleo d'Augusto 472\nMeta Sudante 934\nMura di Settimio Severo 1137\nMuri antichi 1082\nMuri antichi 1096\nMuri antichi 833\nNave Votiva detta la Navicella 943\nObelisco Barberino giacente 215\nObelisco del Circo di Caracalla 605\nObelisco del Circo di Nerone 1286\nObelisco del Circo Massimo 10\nObelisco Lodovisio giacente 14\nObelisco del Mausoleo di Augusto 50\nObelisco nella Villa Mattei 944\nObelisco nella Villa Medici 393\nObelisco nella Piazza della Minerva 842\nObelisco nella Piazza della Rotonda 834\nObelisco Solare giacente 344\nPalazzo de' Cesari, e sue ruine 930\nPantheon detto la Rotonda 837\nPiedestallo della Colonna Antonina 338\nPonte Cestio, or di S. Bartolomeo 1099\nPonte Elio, o Adriano, or S. Angelo 1318\nPonte Fabricio, o quattro Capi 1092\nPonte Gianieolo, or Ponte Sisto 732\nPonte Senatorio, or Ponte Rotto 1107\nPonte Sublicio 1083\nPonte Trionfale, c sue ruine 541\nPortico di Gneo Ottavio, e sue\nruine 756\nRocca Tapea 978\nRuine Antiche 3\nSaline antiche 1081\nSepolcro di Caio Cestio 1068\nSepolcro di Caio Publicio 110\nSito del Settizonio di Severo 953\nTeatro di Marcello 1022\nTeatro di Pompeo, e sue ruine 636\nTempio di Antonino © Faustina 81\nTempio di Antonino Pio 322\nTempio creduto di Claudio 1\nTempio della Concordia 924\nTempio d'Ercole Custode 884\nTempio della Fortuna Virile 1090\nTempio di Giove Tonante 923\nTempio creduto d'Isside, e Sera-\npide 71\nTempio di Minerva Medica 26\nTempio creduto di Nettuno 328\nTempio della Pace 74\nTempio della Pudicizia e sue ruine 1086\nTempio creduto di Romolo 962\nTempio creduto del sole, e sue\nruine 258\nTempio di Venere 208\nTempio di Venere, e Cupidine 22\nTempio di Vesta 1089\nTerme di Agrippa, e sue ruine 874\nTerme Alessandrine, e sue ruine 806\nTerme Antoniane 1064\nTerme Diocleziane 203\nTerme di S. Elena 24\nTerme di Tito Imp. 32\nTerme di Traian Decio, e sue ruine 1070\nTrofei detti di Mario, e sue ruine 37\nVilla di Mecenate, e sue ruine 39\nACQUEDUCTS\n& MODERN ARCHES\nAcqaedotto delPacqua Felice 205\nAcquedotto delPacqua Paola 1191\nAcquedotto delPacqua Paola 1281\nArco di S. Agostino 516\nArco di Carbognano 302\nArco della Ciambella 785\nArco de' Gesuiti 848\nArco di Gin nasi 892\nArco de' Greci 410\nArco di Parma 523\nCHAPELS\nS. Andrea 956\nS. Antonio di Padova 1189\nS. Barbara 957\nS. Caterina da Siena 841\nSS. Ooncezione 1276\nCrocifissione di S. Pietro 1187\nSS. Crocifisso nel Cemeterio di\nS. Spirito 1235\nSS. Crocifisso 945\nS. Domenico 950\nS. Gaetano 394\nS. Gio. in Oleo 947\nS. Lazzaro a' Marmorata 1073\nS. Margarita 18\nS. Maria delPArco 1067\nS. Maria de' Cisterciensi 19\nS. M. in Monasterio 61\nS. M. de' Cerchi 960\nS. M. Maggiore in Aventino 1078\nS. M. Maddalena 1232\nS. M. Sotto PArco, e Abitazione\nd& Cavallegieri 1267\nS. Maria della Pieta nel Colosseo 936\nS. Maria nel Sagro Monte di Pietk 725\nS. M presso S, Marco 105\nS. Silvia 955\nTriclinio Leoniano 17"}, {"page_pdf": 36, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 7529, "texte": "CHURCHES OF SECOLARS\nWITH MONASTERIES\nCONVENTS HOSPICES &c.\nS, Adriano de' PP. della Mercede 94\nS. Agata in Suburra, de' Monaci\ndi Monte Yergine 168\nS. Agata di Tessitori 92\nS. Agata in Trastevere de' PP.\ndella Dottr, Crist. 1156\nS. Agnese 608\nS. Agostino degli Agostiniani Paroc. 816\nS. Alessio de' Monaci Geronimini 1076\nS. Ambrogio della Massima Mona-\nche Benedettine 1017\nS. Anastasia Collegiata 961\nSi Andrea e Bernardino de' Ri-\ngattieri 70\nS. Andrea delle Eratte de' Minimi\nparoc. 365\nS. Andrea k Monte Cavallo de' Ge-\nsuiti 177\nS. Andrea degli Scozzesi 218\nS, Andrea dello Sped, di S. Gio. La-\nterano 12\nS, Andrea della Yalle de' Teatini 775\nS. Angelo in Borgo 1314\nSS. Angeli Custodi 231\nS. Angelo in Pescaria paroc. e\ncolleg. 1020\nS. Aniano de' Lavoranti Calzolai 1052\nS, Anna Monache Benedettine 763\nS. Anna de' Calzettari 1084\nS. Anna, e Gioachino de' Carme-\nlitani Spagnuoli 179\nS. Anna de' Parafrenieri 1293\nSS.ma Annunziata all'Arco de' Pan-\ntani Monache Domenic. 123\nSS.tha Annunziata Monache Ago-\nstiniane dette le Turchine 157\nS. Antonio Ab, de' Canonici Rego-\nlari di Yienna in Francia 45\nS. Antonio de' Portoghesi 506\nS. Apollinare paroc. 515\nS. Apollonia Monache del 3 or-\ndine di S. Eranc. 1169\nSS. XII Apostoli de' Minori con-\nventual paroc. 283\nS. Atanasio de' Greci 409\nS. Balbina de' Pii Operari 1060\nBambino Gesti Oblate Agostiniane 162\nS. Barbera de' Librari 634\nSS. Bartolomeo, e Alessandro de'\nBergamaschi 316\nS. Bartolomeo all' Isola de' Minori\nOsservanti paroc. 1098\nS. Bartolomeo de' Yaccinari 748\nS. Basilio de' Monaci Basiliani 213\nSS. Benedetto, e Scolastica de' Norcini 786\nSS. Benedetto in Piscinola paroc. 1104\nS. Bernardino da Siena monache\ndel 3 ord. di S.\nS. Bernardo alle Term© de' Cister-\ncien. Riform. di detto Santo 195\nS. Biagio della Pagnotta Par. 558\nS. Bibiana 27\nS. Bonaventura de' Minori Osser-\nvanti del Ritiro 931\nS. Bonosa de' Calzolai 1154\nS. Brigida de' Goti de' PP. del\n3® Ord. del SS.riio Salvatore 699\nS. Caio unita alle Monache Bar-\nberine 192\nS. Calisto de' Monaci Cassinensi 1164\nDelia Carcere di S. Pietro 921\nS. Carlo a' Catinari de' Barnabiti\nparoc. 759\nSS. Carlo, ed Ambrogio de' Mila-\nnesi 461\nS. Carlo alle qnattro Eontane de\nTrinitari Scalzi Spagnuoli 180\nS. Catarina de' Eunari Monache\nAgostiniane 1003\nS. Catarina della Rota paroc. 702\nS. Catarina da Siena Monachi Do-\nmenicane 130\nS. Catarina de' Sannesi 695\nSS. Celso, e Giuliano Colleg. paroc. 575\nS. Cecilia Monache Bened.a paroc. 1121\nS. Cesareo 1062\nS. Chiara Mouache di detta Santa 873\nS. Claudio de' Borgoguoni 236\nS. Clement© de* Domenic. Ibernesi 130\nSS.ma Concez.e delle Camaldolesi 1120\nSS.ma Concezione de' Cappuccini 380\nSS.ma Concezione Monache Cap-\npucine dette Earnesiane 67\nSS.ma Concezione alle Viperesche 42\nSS. Cosmo, e Damiano de' Barbieri 768\nSS. Cosmo, © Damiano in Campo\nYaccino de ' PP. del 3 ord. di\nS. Eranc. 80\nSS. Cosmo, e Damiano in Traste-\nvere Monache di S. Chiara 1136\nS. Croce in Gerusalemme de' Mo-\nnaci Cistercien. Lombardi 21\nS. Croce e Bonaventura de' Luc-\nchesi 1256\nS. Croce alia Longara Monache\nAgostiniane della Penitenza 1214\nS. Dionisio de' Trinitari Scalzi\nErancesi 182\nSS. Domenico e Sisto Monache Do-\nmenic, della Prov. di Lom-\nbardia 131\nS. Dorotea de' Minori Convent. 1206\nS. Egidio in Borgo 1294\nS. Egidio in Trastevere Monache\nCarmelitane Scalze 1182\nS. Elena de' Credenzieri 764\nS. Eligio de' Eerrari 1047\nS. Eligio degli Orefici 690\nS. Eligie de' Sellari 1101\nS. Elisabetta degl' Invalidi 565\nS. Elisabetta de' Garzoni Tedeschi\nEornari 631\nS. Eufemia Conserv. di Zitelle 115\nS. Eusebio de' Monaci Celestini 38\nS. Eustachio Colleg. paroc. 802\nS. Eranc. Bomana dentro il Mo-\nnast. delle Monac. oblate di\nTor de' Specchi 986\nS. Eranc. Romana in Campo Yac-\ncino de' Monaci Olivetani 72\nS. Erancesca Romana k capo le Case\nde' Trinitari Italiani 375\nS. Francesco d'Assisi 731\nS. Francesco di Paola de' Minimi\ndi Calabria paroc. 65\nS. Francesco a' Ripa de' Min. Os-\nser. Riiorm. 1134\nS. Filippo Neri de' Convertiti 1250\nS, Eilippo Neri a Strada Giulia 666\nSS. Faustina© Giovita detta S. Anna\nde' Bresciani 559\nS. Galla 1040\nGesii e casa professa de' Gesuiti 902\nGesu, e Maria degli Agostiniani\nScalzi 407\nS. Giacomo degl' Incnrabili 476\nS. Giacomo alia Longara Monache\nAgostiniane 1216\nS. Giacomo Scossa Cavalli paroc. 1248\nS. Giacomo de' Spagnuoli 606\nS. Giorgio in Yelabro degli Ago-\nstiniani di Genova 1055\nS. Gio. in Aino paroc, 681\nS. Gio. Calibita de' Benfratelli 1093\nS. Gio. Decollato 1049\nS. Gio. de' Fiorentini paroc. 549\nS. Gio, in Font© 9\nS. Gio. de' Genovesi 1120\nS. Gio. Laterano Patriarc. e paroc. 5\nS. Gio. della Malva de' Ministri\ndegl' Infermi paroc. 1203\nS. Gio. de' Maroniti 228\nS. Gio. de' PP. della Mercede 361\nS. Gio. e Paolo de' Missionari 958\nS. Gio. e Petronio de' Bolognesi 713\nS. Gio. della Pigna 869\nS. Gio. a Porta Latina de' Minimi\ndella Prov. Rom. 946\nS. Girolamo della Caritit 1701\nS. Girolamo de' Schiavoni Colleg. 459\nS. Giuliano in Banchi 578\nS. Giuliano de' Eiamminghi 772\nS. Giuliano a' Monti de' Carmelit.\ndella Prov. Rom. 26\nS. Giuseppe a' capo le Case Mona-\nche Teresiane 373\nS. Giuseppe de' Ealegnami 921\nS. Giuseppe alia Longara de' Pii\nOperari 1225\nS. Gregorio Magno sul Monte Celio\nde' Monaci Camaldolesi 1954\nS. Gregorio de' Muratori 495\nS. Gregorio a' Ponti 4 Capi 1036\nS. Grisogono de' Carmelitani della\nCongreg. di Mantoa paroc. 1143\nS. Jgnazio de' Gesuiti 847\nSS. ildefonso, e Tommaso da Yil-\nlanova degli Agostiniani Scalzi\nSpagnuoli 374\nSSma Incarnazione Monache Car-\nmelitane di S. M. Maddalena\nde' Pazzi 192\nS. Isidoro de' Minori Osser. Ir-\nlandesi 384\nS. Ivo de' Britanni paroc. 504\nS. Ivo nella sapienza 800\nS. Leonardo degli Eremiti Camal-\ndolesi di Monte Corona 1226\nSS. Lorenzo, e Damaso Colleg. e\nparoc. 645\nS. Lorenzo in Forte 153\nS. Lorenzo in Lucina de' Chierici\nMinori paroc. 350\nS. Lorenzo in Miranda de' Speziali 81\nS, Lorenzo a' Monti paroc. 106\nS. Lorenzo in Pane, e Perna Mo-\nnache di S. Chiara 164\nS. Lorenzo in Piscibus de' PP. delle\nscuole Pie 1257\nS. Lucia delle Botteghe Oscure\nMonache Teresiane paroc. 893\nS. Lucia della Cliiavica 661\nS. Lucia in Selce Monache Agosti-\nniane 59\nS. Lucia della Tinta Colleg. e par. 508\nS. Luigi de' Francesi paroc. 808\nS. Marcello de' Serviti Parrocchia 286\nS. Marco Colleg. e paroc. 907\nS. Margarita Monache del 3 or. di\nS. Francesco 1170\nS. M. degli Angeli alle Terme\nde' Monaci Certosini 203\nS. M. dell'Anima della Nazion\nTeutonica 600\nS. M. in Aquiro paroc. 330\nS. M. d'Araeeli de' Minori Osser. 917\nS. M. del buon Yiaggio 1127\nS. M. in Cacaberis de' Cocchieri 755\nS. M. in Campo Carleo paroc. 121\nS. M. in Campo Marzo Monache\nBenedettine 440\nS. M. in Cappella 1116\nS. M. del Carmine 267\nS. M. della Consolazione 966\nS. M. in Cosmedin Colleg. e paroc. 1086\nS. M. de' 7 dolori oblate Agosti-\nniane 1196\nS. M. in Domenica detta la Navi-\ncella de' Melchiti di S. Basilio 942\nS. M. Egiziaca degli Armeni 1090\nS. M. de' Febribus or Sagrestia di\nS. Pietro in Yaticano 1284\nS. M. in Eonte 7\nS. M. e S. Gallicano 1159\nS. M. delle Grazie alia Consola-\nzione 968\nS. M. delle Grazie de' Romiti a'\nPorta Angelica 1296\nS. M. di Grotta Pinta paroc. 635\nS. M. dell'ldria de' Siciliani 372\nS. M. Imperatrice 940\nS. M. Liberatrice 929\nS. M. di Loreto al Colosseo 31\nS. M. di Loreto de' Eornari 274\nS. M. Maddalena al corso Monache\nAgostiniane 356\nS. M. Maddalena a' Monte Cavallo\nMonache Domenicane 176\nS. M. Maddalena de' Ministri de-\ngl' Infermi 334\nS. M. Maggiore Patriarcale 49\nS. M. ad Martires Colleg. paroc. 837\nS. M. sopra Minerva de' Domeni-\ncani paroc. 844"}, {"page_pdf": 37, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 6981, "texte": "S. M. de Miracoli de' PP. del\n3 ord. Pi form, di S. Franc.\nFrancesi 484\nS. M. di Monserrato degli Ara-\ngonesi 688\nS. M. di Monte Santo de' Carme-\nlitani Piform. 404\nS. M. di Monterone de' PP. della\nMercede Scalzi Italiani paroc. 784\nS. M. de' Monti de' Pii Operari 137\nS. M. in Monticelli de' PP. della\nDottr. Crist. Avignanesi paroc. 737\nS. M. della Neve de Cistercien.\nPiform. Fuliensi 221\nS. M. dell' Orazione detta della\nMorte 703\nS. M. dell' Orto 1122\nS. M. della Pace dei Canonici\nPegol. Late ran en si paroc. 599\nS. M. del Pascolo de' Monaci Ba-\nsiliani Puteni 140\nS. M. del Pianto 753\nS. M. della Piet& in Campo Santo\ndella Nazion Tedesca 1271\nS. M. del Popolo degli Agostiniani\nLombardi paroc. 401\nS. M. Porta Paradisi 479\nS. M. in Porticu de' Chierici Pegol.\ndella Madre di Dio paroc. 989\nS. M. in Posterula de' Monaci Ce-\nlestini paroc. 522\nS. M. del Priorato 1075\nS. M. della Providenza, e Conser.\ndi Zitelle 492\nS. M. in Publicolis paroc. 757\nS. M. della Puraficazione in Banchi\nde' Transalpini 553\nS. M. della Puraficazione ai Monti\nMonache di S. Chiara 60\nS. M. della Purity de' Caudatari 1309\nS. M. della Quercia de' Marcellari 710\nS. M. Pegina Coeli Monache Car-\nmelitane Scalzi 1221\nS. M. della Sanity de' Siriaci 186\nS. M. della Scala de' Carmelitani\nScalzi 1199\nS. M. del Sole 1089\nS. M. del Sufiragio 560\nS. M. della Traspontina de' Car-\nmelitani paroc. 1311\nS. M. in Trastevere Collegiata paroc. 1165\nS. M. in Trivio de' Ministri degli\nInfermi paroc. 242\nS. M. in Vallieella de' PP. della\nCongreg. dell' Orat. 656\nS. M. delle Yergini Monache Ago-\nstiniane 299\nS. M, in Via de' Servi di Maria\nparoc. 238\nS. M. in Via Lata Colleg. paroc. 851\nS. M. in Vinci de' Saponari 975\nS. M. della Yittoria, de' Carme-\nlitani Scalzi Italiani 207\nS. M. dell' Umiltk Monache Dome-\nnicane 296\nS. Marta Monache Agostiniane 859\nS. Marta al Yaticano de' Trinitari\nScalzi Italiani 1278\nS. Martina, e Luca de' Pit tori 97\nS. Martino al Monte della Piet& 723\nS. Martino a' Monti de' Carmeli-\ntani paroc. 58\nS. Martino degli Svizzeri 1289\nS. Matteo in Merluana degli Ago-\nstiniani Irlandesi 28\nS. Mauto 323\nSS. Michele, e Magno 1259\nNativity di N. S. G. C. degli Ago-\nnizanti 619\nSS. Nereo, ed Achilleo 1061\nS. Nicold in Arcione de' Servi di\nMaria paroc. 224\nS. Nicolb in Carcere Collegiata Pa-\nrocchia 1038\nS. Nicolb a Cesarini de' Somaschi\nparoc. 883\nS. Nicolb degl' Incoronati Parocchia 664\nS. Nicolb de' Lorenesi 603\nS. Nicolb de' Prifetti de' Domeni-\ncani di S. Sabina paroc. 447\nS. Nicolb di Tolentino degli Ago-\nstiniani Scalzi *2ll\nSSmo Nome di Maria 272\nS. Norberto de' Canonici Pre-\nmoßtratensi 189\nS. Omobono de' Sartori 1046\nS. Onofrio di Ermiti del B. Pietro\nda Pisa 1228\nSS. Orsola e Catarina 981\nS. Orsola Monache Agostiniane 412\nS. Pantaleone de' PP. delle Seaole\nPie 624\nS- Pantaleone a Monti 76\nS. Paolo prim* Eremita degli Ere-\nmifci Ungari 185\nS. Paolo alia Regola de' PP. del\n3 ord. di S. Franc. Siciliani 734\nS. Pasquale g\\k SS, 40. MM. Dei\nMinori Osser. Scalzi Spagnuoli 1139\nS. Pellegrino della Guardia Sviz-\nzera 1435\nSS. Pietro, e Marcellino de' Maro-\nniti di S. Antonio Ab. 29\nS. Pietro in Montorio de' Minori\nOsser v. Riform. 1186\nS. Pietro in Yaticano Patriarcale,\ne paroe. 1285\nS. Pietro in Vincoli de' Canonici\nPeg. di S. Salvatore 64\nS. Prassede de' Monaci Vallombro-\nsani paroc. 56\nS. Prisca degli Agostiniani Lom-\nbardi 1059\nS. Pudenziana de' Cistercien. Pifor.\ndi S. Bernardo 188\nSS. Quattro Coronati Monache\nAgostiniane 938\nSS. Qnirico, e Giulitta de' Dome-\nnicane paroc. 89\nSS. Re Magi 364\nB. Pitta de' Casciani 914\nS. Pocco 468\nS. Pomnaldo de' Monaci Carnal. 278\nSS. Rnfina, e Seconda nel Later. 8\nSS. Ruftna, e Seconda in Traste-\nvere Oblate Agostiniane 1171\nS. Saba 1066\nS. Sabina de' Domenicani 1077\nSS.mo Sagramento a Monte Ca-\nvallo Monache Cappnccine 176\nSS.fiio Salvatore in Campo paroc. 738\nSS.ffio Salvatore de' C&tecumeni\nparoc. 135\nSS.mo Salvat. delle Coppelli paroc. 825\nSS.tho Salvatore della Corte dei\nminimi paroc. 1146\nSS.fho Salvatore in Lauro della Na*\nzion Picena 535\nSS.fiio Salvatore in Onda de' Mi-\nnori Conv. paroc. 730\nSS.fiio Salvatore k Ponte Potto\nparoc. 1108\nSS.mo Salvatore, e Stanislao de\nPollacclii 999\nSS.mo Salvatore in Tbermis 807\nSS.rno Salvatore al Torrione di-\nsmesso 1264\nSancta Sanctorum, e Scala Santa 15\nS. Sebastiano de' Mercanti 1009\nS. Sebastiano alia Polveriera 932\nS. Silvestro, in Capite Monache\ndi S. Chiara 357\nS. Silvestro k Monte Cavallo dei\nTeatini 259\nS. Silvestro degli Scultori 939\nS. Simon Profeta paroc. 525\nS. Simon, e Giuda paroc. 586\nS. Sis to de' Domenicani Trlandesi 949\nSpirito Santo alia Colonna Traiana\nMonache Canoniehesse Late-\nranensi 114\nSpirito Santo de' Napolitani 678\nS. Spirito in Sassia dei Canonici\nPegol. Ospitalieri paroc. 1238\nS. Stefano, del Cacco de' Monaci\nSilvestrini paroc. 860\nS. Stefano. de' Monaci Copti di\nS. Antonio Ab. 1279\nS. Stefano in Piscinula paroc. 660\nS. Stefano Potondo 1\nS. Stefano degli Ungari 1274\nStimmate di S. Francesco 866\nSSmo Sudario de' Piemontesi 774\nS. Susanna Monache Cistercien.\nparoc. 206\nSS. Teresa, e Gio. della Croce dei\nCarmelitani Scalzi 722\nS. Teresa alle 4 fontane Monache\nCarmelitane Scalze 191\nS. Tecla in S. Spirito 1240\nS. Teodoro 962\nS. Tommaso Ap. a Cenci paroc. 751\nS. Tommaso Ap. in Formis 941\nS. Tommaso Ap. in Parione paroc. 615\nS. Tommaso Cantuorieuse degli\nInglesi 697\nTrasfigurazioue del Sig.re nel-\nl'Ospiz, Apost. di S. Michele 1128\nS. Trifone 532\nSS. Trinity de' Trinitari Casti-\ngliani 423\nSS. TrinirA de' Missjonari 341\nSS. Trinity de' Monti de' Minimi\nFrancesi 391\nS. Trinity de' Pellegrini 726\nS. Yenanzio de camerinesi Paroc. 910\nB. Yergine del Rosario dentro Ca-\nstello 1320\nSS. Vincenzo, ed Anastasio dei\nCuochi paroc. 746\nSS. Yicenzo ed Anastasio a Trevi\ndei Chierici Minori paroc. 247\nYisitazione Monache di S. Fran-\ncesco di Sales 1223\nS. Yitale de Gesuiti 178\nSS. Vito, e Modesto de' Monaci\nCistercien. della Provincia Ro-\nmana 40\nS. Urbano Monache Cappuccine 103\nCOLLEGES & SEMINARIES\nAccademia Ecclesiastica 840\nCollegio Bandinelli 555\nCollegio Capranica 333\nCollegio Cerasoli 316\nCollegio Clemeutino 499\nCollegio Fuccioli 133\nColleg. Germauico Ungar. 815-515\nCollegio Ghislieri 677\nCollegio Ginnasi 895\nCollegio Greco 411\nCollegio degl' Ibernesi 126\nCollegio degl' Inglesi 697\nCollegio de' Maroniti 228\nCollegio Nardini 613\nCollegio Nazzareno 367\nCollegio de' Neofiti 137\nCollegio Panfili 608\nCollegio Piceno 535\nCollegio di Propaganda-Fide 364\nCollegio Salviati 330\nCollegio Scozzese 218\nCollegio dell' Umbria 1014\nSeminario di S. Pietro 1277\nSeminario Romano 324\nCONSERVATORIES &\nMONASTERIES OF WOMEN\nWITHOUT CHURCH\nConserv. dell'Assnnta 1194\nConserv. di S. Gio. Laterano 6\nConserv. dell© Malmaritate 1231\nConserv. delle Mendicanti 75\nGonserv. di S. Pasquale 1119\nConserv. delle Penitenti 1230\nConserv. delle Zoceolette 733\nMonast. delle Filippine 158\nMonast. dell' Oblate di S. Franc, di\nPaola 62\nCELEBRATED FOUNTAINS\nDell'Acqua Felice 205\nDelPAcqua Paola 1190\nDel Babuino 399\nDel Facchino 850"}, {"page_pdf": 38, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 5542, "texte": "Del Mascherone di Farnese 704\nQuattro Fontane 181\nDi Trevi 243\nPUBLIC PLACES\nAccademia degli Arcadi 1193\nAccademia di Francia 285\nBanco di S. Spirito 572\nBastioni di Paolo 111 1074\nBastioni di S. Spirito 1236\nCancelleria Apostolica 647\nCarceri di Campidoglio 920\nCarceri di Correzione per i Fan-\nciulli 1132\nCarceri per le Donne 1133\nCarceri nuove 632\nCinque Scuole degli Ebrei cio&\nCatalana, Siciliana, Castigliana.\nScuola nuova, e Scuola del\nTempio 1030\nConforteria 539\nConsulta 174\nCuria Innocenziana 339\nDataria Apostolica 349\nDogana della Grascia 926\nDogana di Ripa Grande 1126\nDogana di Ripetta 493\nDogana di Terra 322\nDogana del Yino 1125\nFabrica del Tabacco 1195\nGovern o 614\nGranari Pubbliei 197\nGranari Pubbliei 204\nLuogo della Ripresa de' Barberi 111\nLuogo ove Sermoneggiano i PP.\ndella Congreg. dell'Orat. 1229\nMemoria di Enrico IY 43\nMonte di Pieta 725\nMura della Citta fatte da S.\nLeone IV 1283\nOrto Bottauico 1192\nPalaz. dell' Inquisizione 1265\nPol verier a 933\nPorta Antica di Roma, e Corri-\ndore di Alessandro Y1 1291\nPorta Settimiana 1207\nPorta S. Spirito 1237\nQuartiere della Guardia Reale 253\nQuartiere della Guardia Svizzera 1290\nSapienza 799\nScuole di S. Agata in Trastevere 1156\nScuole pubbliche del Collegio Ro-\nmano 847\nScuole pubbliche di S. Lorenzo in\nPiscibus 1257\nScuole pubbliche di S. Pantaleone 624\nScuole nuove de' PP. delle Scuole\nPie 891\nScuole delle Mastre Pie 864\nSepoltura degli Ebrei 1057\nSepoltura de' Giustiziati - 1051\nSepoltura degp Impeniten ti 402\nSepoltura de' Protestanti 201\nSepoltura de' Protestanti 1069\nTeatro Alibert 296\nTeatro Argentina 771\nTeatro Capranica 332\nTeatro de' Granari 618\nTeatro della Pace 611\nTeatro della Pallaccorda 441\nTeatro di Tordinona 536\nTeatro della Yalle 795\nZecca 1288\no ORATORIES o\nS. Andrea de' Pescevendoli 1021\nS. Andrea de' Yascellari 1110\nS. Andrea in Yinci de' Scar-\npellini 977\nS. Angelo in Borgo 1315\nSS. Assunta, e Cecilia alia Ch.\nNuova 657\nS. Carlo al Corso 462\nS. Catarina in S. Bernardo 196\nSS. Cosmo e Damiano de' Barbieri 769\nSS.mo Crocifisso a S. Marcello 287\nSS#mo Crocifisso in S. Niccolb in\nArcione 225\nDel Cuor di Gesu 963\nDottrina Cristiana 754\nDottrina Cristiana nella Traspon-\ntina 1212\nS. Eligio de' Ferrari 1048\nS. Francesco di Paola 66\nGesh Maria, e Giuseppe 408\nS. Giacomo Apost. de' Capellari 735\nS. Giuseppe de1 Falegnami 922\nS. Gio. Batta. de* Neofiti 136\nS. Gio. Decollato 1050\nS* Gregorio de' Muratori 496\nS. Gregorio Taumaturgo 908\nS. M. del Carmine alle 3 Cannelle 267\nS. M. del Carmine in Trastevere 1144\nS. M. del Confaleone 562\nS. M. della Neve 138\nS. M. della Piet& del P. Caravita 848\nS. M. della Pieta in Campo Santo 1272\nS. M. del Riscatto 95\nS. M. del Suffragio 561\nB. Nicola de' Rupe 251\nS, Orsola detta il Consolato 550\nDelle Piaghe di Gesti Cristo 667\nS. Rocco 469\nSpirito Santo de' Napolitani 679\nS. Spirito in Sassia 1245\nSS.mo Sagramento in S. Andrea\ndelle Fratte 366\nSS.fiio Sagramento in S. Susanna 376\nSS.mo Sagramento in SS. Celso e\nGiuliano 576\nSS.mo Sagramento in S. Gio. della\nMalva 1204\nSS.mo Sagramento in S. Lorenzo\nin Damaso 646\nSS.iho Sagramento in S. M. in Via 239\nSS fiio Sagramento in S. Nicolo\nin Carcere 1039\nSS.fiio Sagramento in S. Niccolb\nde' Prefetti 448\nSS.mo Sagramento in SS. Quirico,\ne Giulitta 90\nSS.fiio Sagramento in S. Gio. La-\nterano 16\nSS.fiio Sagramento in S. Giacomo\nScossacavalli 1249\nSS.mo Sagramento in S. Lorenzo\nin Lucina 424\nSS.tho Sagramento in S, M. in Tra-\nstevere 1166\nSS.mo Sagram. alia Rotonda 838\nS. Teresa alia Scala 1200\nSS. Trinita de' Pellegrini 727\nREGULAR HOSPICES\nWITHOUT CHURCH\nBenedettini Spagnuoli 377\nBenfratelli Spagnuoli 155\nCistercien. Lombardi di S. Croce 304\nCistercien. delle 3 Fontane 982\nEremiti Camaldolesi Toscani 194\nGeronimini di S. Alessio 983\nPenitenzieri di S. Gio. Laterano 4\nPenitenzieri di S. M. Maggiore 47\nPenitenzieri di S. Pietro in Vati-\ncano 1252\nS EC U L AR HOSPICES\nCatecumeni 135\nConvalescenti 31\nConvertiti alia Fede 1250\nCortegiani 153\nFanciulli Orfani 330\nFanciulli proietti 1241\nS. Galla per gli Domini 1040\nS. Luigi Gonzaga per le Donne 1041\nS. Michele per le Donne Invalide 1129\nS. Michele per li Fanciulli 1131\nS. Michele per gli Domini In-\nvalidi H3O\nPellegrini e Convalescent! 726\nPreti Pellegrini 890\nYedove 120\nNATIONAL ERCULAR\no HOSPICES o\nArmeni 1090\nAragonesi 688\nBorgognoni 236\nCastigliani 606\nFrancesi 808\nLiegesi 456\nPolacchi 999\nPortoghesi 506\nSiciliani 372\nSiriaci 186\nTeutonici 600\nYescovi Yeneti 260\no PALACES o\n—>aM—mmmMmmmMMmmmmmmrmamammmmmmmmmmmmmmmmmmrnmrnrnm\n*\nAbitazione della Famiglia di Casa\nColonna 265\nAbitazione della Famiglia Ponti-\nficia 255\nAbitazione di Raffael d'Drbino 584\nAccademia di Francia 285\nDi Agostino Ghigi oggi Farneee 1212\nAccoramboni 826\nAccoramboni 1308\nAlbani 187\nAlbani 190\nAJbani 184\nAlberini 178\nAlberoni 230\nAlibrandi 739\nA1 temps, Isimbardi, e S. Casa di\nLoreto 279\nAltemps 519\nAltieri al Gesii 861\nAltieri in Campitelli 988\nAltieri in Campitelli 1001\nAltoviti 540\nAmadei 865\nAmadori 352\nDe Angelis 368\nDella Comp. delPAnnunziata 1010\nDelia Comp. de' SS. XII Apostoli 290\nDella Comp. de' SS. XII Apostoli 626\nAstalli 995\nD'Aste 856\nD'Aste 672\nD'Aste di Genova 498\nDegli Atti 692\nAvogadri 425\nBaldocci 696\nBarberini con Villa 1260\nBarberini 215\nBarberini 216\nBernini 362\nBoccapadnli 1011\nBolognetti 277\nBonadies 643\nBonaventura 596\nBoncompagni 398\nBoncompauni 651\nBonelli 273\nBorghese 451\nBorgbese 453\nBorghese 831\nBossi 670\nBufalo 234\nBufalo 782\nBussi 878\nCaccia 729\nCaffarelli 979\nCamerata 580\nCancellaria Apostolica 647\nCaraccioli 621\nCarafa 511\nCarandini 109\nCardelli 445"}, {"page_pdf": 39, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4306, "texte": "Cardelli gik Capponi 491\nCardelli 992\nDe Carolis 849\nCarpegna 804\nS. Casa di Lore to 437\nCasali 818\nCapizucchi 987\nCapponi 579\nCapponi 684\nCapranica 331\nCapranica 794\nCavalieri 244\nCavalieri 765\nCavalieri 1254\nCavailerini 766\nCavalletti 990\nCaucci 655\nCellesi ora Negron 503\nCenci 756\nCenci 790\nCerosoli 162\nCesarini 887\nCesi 522\nCesi 868\nCesi 1256\nCesi 1261\nCeva 117\nCiampin* 51\nCicciaporci 574\nCiccolini 269\nCicogni 294\nCimarra 149\nDel Cinque 313\nCirci 909\nColonna Contestabile 281\nCloonna Contestabile 258\nColonna di Carbognano 300\nColonna di Sonnino 885\nColonna 863\nColtrolini 777\nDe' Conservatori 919\nDella Consulta 174\nConti 241\nConti 344\nConti 780\nConti 105\nDell' Ospiz. de' Convertiti 1251\nCorrea 472\nDelia Confr. del Confalone 512\nCorsini 1210\nCorsini Palombara 839\nCostaguti 1015\nCrescenzi 835\nDataria Apostolica 249\nDel Drago 594\nEalconieri 693\nFalconieri 694\nEarnese 705\nEarnese 1211\nEioravante 700\nDi Eirenze 446\nElorenzi 261\nEonseca 871\nGabrielli 582\nGaetani 35\nGalli e Colloretti 616\nGalli 642\nGalloppi 217\nGamberucci 913\nGentili 226\nDel Collegio Germanico TJngarico 814\nGhigi 309\nGhigi 348\nGhigi Montorio 686\nGhislieri 100\nDi S. Giacomo degP Incurabili 321\nDi S. Giacomo degl' Incurabili 481\nDi S. Giacomo degl' Incurabili 828\nGinnasi 894\nGiraud 1310\nGiustiniani 832\nGomez 415\nGottifredi 521\nGottifredi 857\nGrassi 266\nGrillo 128\nGiimaldi 295\nGrimani 219\nGuarnieri 385\nGuelfi, Camaiani Montauti, e Ro-\nvarelli 318\nJacobilli 760\nIncoronati 671\nIngani 862\nDel Collegio Inglese 698\nDell' Inquisizione 1265\nLancellotti 633\nLancellotti 623\nLanci 303\nLanti 793\nLanti 1218\nLavaiani 646\nLeoni 1168\nLercari 1037\nLucatelli 381\nLudovisi 382\nMaccarani 297\nMaccarani 993\nMaculani 609\nMagnani 349\nDelia Religion di Malta 418\nMancini 665\nMandosi 709\nManfroni 432\nManfroni 629\nMantica HO\nMari 1258\nMariscotti 867\nMariscotti 342\nDi S. M. dell'Anima 598\nDe' PP. della Minerva 843\nMaruscelli 427\nMassimi 984\nMassimi alle Colonne 625\nMattei di Giove 1004\nMattei di Paganica 1006\nMattei di Paganica 997\nMedici 392\nMedici d.° di Madama 806\nMelchiorri 836\nMagnanelli 389\nMillini 288\nMinucci 475\nMolara 262\nDelle Monacbe di S. Anna 1163\nDelle Monacbe di Calvi 314\nDelle Monacbe di Campo Marzo 336\nDell'Antico Monte di Pieta 595\nMontecatini 320\nMontemarte B^7\nMoroni 1008\nDel Museo Capitolino 918\nMuti Bussi 91x\nMuti Papazzurri 289\nMuti Papazzurri 292\nMuti Sacchetti 877\nNari 789\nNari 823\nNegroni 199\nNegroni 1005\nNegroni 502\nDel Nero 567\nNiccolini 317\nNiccolini 547\nDella Congreg. de* Nobili al Gesh 996\nNunez 426\nNunez 870\nOlgiati 363\nOdescalco 284\nDella Casa degli Orfani 312\nOrsini 673\nOrigo 880\nOrnani 604\nOrsini 1022\nDell' Ospiz. Apost. D.° la Curia\nInnocenziani 339\nDell* Ospiz. Apost. Abitaz. di\nMonsigr Yicegerente 311\nOssoli 1167\nOtxoboni 351\nPalm a 822\nPalombara 345\nPanfili 169\nPanfili 332\nPanfili 607\nPanfili 853\nPanfili 852\nPanfili 854\nPannini 683\nPapi 271\nParaciani 276\nPassarini 148\nPatrizi 629\nPatrizi 1002\nPescatori 781\nPerucchi 378\nPetroni 001\nPetroni 900\nPianetti 172\nDell' Ereditk di Pietro da Oortona 916\nPighini 708\nPio 636\nPocavena 65\nPontificio a S. Gio. Laterano 6\nPontificio nel Quirinale 250\nScuderia Pontificia 254\nPontificio Yaticano 1287\nDelia Porta 419\nQuarantotto 457\nRaggi 055\nRavenna 63\nReali 170\nRocci 680\nRita 024\nRocci ora Spada 674\nDe Romania 610\nRondinini 043\nRondinini 483\nDelia Comp. del Rosario 228\nRospigliosi 173\nDe Rossi 652\nRuspoli 434\nRuspoli 985\nSacchetti 657\nSagripanti 629\no * r rxrk\nSala 693\nSeristori 1265\nSalviati 1227\nSampieri 631\nSantacroce 740\nSantacroce per la Eamiglia 741\nSantacroce 1013\nDelia Comp. di Sancta Sanctorum 821\nDelia Comp. di Sancta Sanctorum 614\nDelia Comp. di Sancta Sanctorum 898\nScarlatti 270\nDel Senatore di Roma 920\nSerlupi\nSerlupi 1019\nSforza Cesarini 669\nDe Signoribus 741\nSinibaldi 787\nSelvestri\nSpada 006\nSpada 670\nSpada j a CaP° (U Ferr° 716\nDelia Corona di Spagna 429\nSpinola\nDi S. Spirito Hf?\nStella 264\nStrozzi\nTanara 687\nTeodoli\nTesta Piccolomini 257\nDelia Relig. Teutonica 712\nTomati 086\nDelia Trinitk de' Pellegrini 421\nTrull i 627\nYaldina Cremona 439\nDi Yenezia *O3\nYerospi\nYerospi f5\nYidman ~ou\nYiscardi 899\nZuccari, Nazzari, Comp. dell'An-\nnunziata, e Luogo Pio d'Orfani 390\no PIAZZAS o\nDelPAgnello 648\nDelCAvila 689\nRarberina 214\nDel Biscione 637\nDelia Bocca della Yeritk 1087\nBorgbese 452\nDi Branca 742\nCampo di Eiore 638"}, {"page_pdf": 40, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 4924, "texte": "Campo Marzo 438\nCampo Yaccino 927\nOaplzucchi 991\nCapranica 329\nDe Caprettari 791\nDelie Carrette 464\nDelle Carrette 87\nDi Catalone 1300\nDelia Catena 976\nDe' Cenci 749\nDella Chiavica di S. Lucia 668\nDe' Cimatori 648\nDel Cinque 1178\nDel Collegio Romano 846\nColorma 310\nDelia Colonna Traiana 113\nCostaguti 1012\nDella Crocetta 1145\nDi S. Eustachio 801\nFarnese con 2 Fontane 706\nDella Ferratella 945\nFiammetta 530\nDel Fico 591\nDi Firenze 442\nDePa Fontana Secca 1238\nDelia Fontanella 1043\nDelle Fornaci 1201\nDel Fosso 1280\nDelle Gensole 1102\nGiudea fuori Ghetto 1025\nGiudea dentro del Ghetto 1026\nDel Grillo 127\nLombarda 811\nDei Macelli 1028\nDi Macel di Corvi 112\nDe' Due Macelli 369\nMadama 805\nMargana 994\nDel Masclierino 1307\nMattei 1016\nMlgnanelli 388\nDella Minerva 842\nDe' Miracoli 486\nDi Molara 1100\nMontanara 974\nDi Monte Cavallo 252\nDi Monte Citorio 338\nDel Monte della Farina 761\nDi Monte di Fiore 1142\nDi Monte Giordano 581\nDel Monte di Piet& 724\nDi Monte d'oro 455\nDel Muro nnovo 1152\nDella FTavicella 943\nNavona 605\nNicosia 501\nDelP Oca 488\nDell' Olmo 1151\nDelP Olmo 887\nOtto Cantoni 465\nDella Pace 597\nPadella 663\nPrganica 1007\nPalomba 517\nDel Paradiso 630\nDe Pasquino 620\nPensile a S. Pietro Montorio 1188\nDi Pescaria 1023\nDi Pietra 315\nDella Pilotta 293\nDi Poli 240\nPaliaroli 639\nDi Ponte Sisto in Trastevere 1179\nDel Popolo 403\nDel Pozzo delle Cornacchie 827\nDe' Renzi 1175\nDe' Ricci 675\nRomana 1157\nRondinina 830\nRosa 305\nDella Rotonda 834\nDella Ruaccia 1172\nSannesia 1253\nDe' Satiri 633\nDi Scanderbech 246\nDi Sciarra 302\nDelle Scuole in Ghetto, 1209\nSerlupi 1018\nDi Sforza 568\nDi Sora 652\nDi Spada 718\nDi Spagna 395\nDegli Specchi 736\nStrozzi 881\nDella Saburra 154\nDi Termini 198\nDella Torretta 436\nTor Sanguigna 518\nTre Cannelle 263\nDelle 3 Cannelle in Ghetto 1033\nDi Trevi 243\nDelia Yalle 783\nDe' Yascellari 1114\nDelle Vaschette 1299\nDi Yenezia 906\nDo' Zingari 145\no HOSPITALS o\nDi S, AntonioAAbe per gli offesi\ndal fuoco 46\nDi S. Giacomo degli Incurabili per\nle donne 477\nPer gli Domini 478\nDi S. Giacomo dismesso 480\nDi S. Gio. Calibita do' Benfratelli 1094\nDi S. Gio Laterano per gli Domini 11\nPer le Donne 13\nDi S. Gio. sud,° dismesso. ora\nFenile 937\nDi S. M. e, Gallicano per gli Do-\nmini 1160\nPer le Donne 1161\nDi S. M. della consolazione per gli\nDomini 967\nPer le Donne 969\nDi S. M. di Loreto 275\nDi S. M. delP Orto 1123\nDi S. M. della Piet& de' Pazzi per\ngli Domini 1233\nPer le Donne 1234\nDi S. Rocco per gli Domini 470\nPer le Donne Partorienti 471\nPer i Sacerdoti a Ponte Sisto 731\nDi S. Spirito 1242 1243\nNATIONAL HOSPITALS\nDegli Aragonesi in S. M. di Mon-\nserrato 688\nDe' Bergamaschi in S. Bartolomeo,\ned Alessandro 316\nDe' Castigliani a S. Giacomo 606\nDe' Fiorentini a S. Gio. 549\nDe' Francesi a S. Luigi 809\nDe' Lucchesi a S. Croce e Bona-\nventura 256\nDe' Milanesi a S. Carlo al Cor*o 461\nDe* Portogbesi in S. Antonio 506\nDe' Schiavoni a S. Girolamo 459\nPer le Donne Tedesche 1273\nDe' Fornari Tedeschi 631\no STREETS o\nAlessandrina 79\nAnicia e Frangipana 1117\nDell'Arco della Ciambella 875\nArgentina 767\nDell'Armata 691\nDelP Babnino 399\nBaccina 134\nDe* Banebi 573\nBanchi Yecchi 566\nDe' Baullari 640\nBenedetta 1202\nDi Boccaleone 430\nBonella 98\nDi Borgo Angelico 1297\nDi Borgo Angelico 1202\nDi Borgo S. Angelo 1313\nDi Borgo nnovo 1247\nDi Borgo Pio 1301\nDi Borgo S. Spirito 1244\nDi Borgo Vecchio 1246\nDi Borgo Yittorio 1298\nBorgognona 428\nDel Boschetfco 166\nDelle Botteghe oscure 998\nDel Braccio 1270\nDel Campanile 1302\nDi Campo Carleo 122\nDi Campo Marzo 441\nDi Campo Santo 1269\nDe* Canestrari 798\nDi Campo di Ferro 717\nDelle Carrette 142\nDelle Carrette 1263\nDelle Carrozze 1044\nDelle Carrozze 417\nDelia Catena 714\nDelia Catena 1262\nCelsa 896\nCesarini 770\nDe' Chiavari 632\nDelle Chiavi d'Oro 102\nDelia Chiavica del Bufalo 235\nDelle Cinque Lune 812\nClementina 146\nDelle Colonnelle 466\nCondotti 422\nDe' Coronari 585\nDelia Coroncina 57\nDel Corso 433\nCremona, e Marmorella 101\nDelia Croce 416\nDelia Croce bianca 93\nDe' Falegnami 758\nFelice 23\nDelia Ferratella 2\nDelia Fiumara 1031\nDelle Fratte 1140\nFrattina 359\nFlorida 888\nGaetana 528\nDel Gambaro 354\nDi S. Giacomo gi& Via Massimi 1217\nDe' Gigli d' Oro 514\nDi S. Gio. de' Fiorentini 544\nGiulia 564\nDe' Giupponari 721\nDelle Grazie 964\nGraziosa 159\nDe' Greci 410\nGregoriana 387\nGregoriana ms\nDelia Salita del Grillo 129\nDel Grottino 460\nLaurina 405\nLeccosa 497\nDel Leoncino 435\nLeonina 139\nDelia Longara, 1208\nDel Macello 458\nDelia Malva 1106\nDi Marforio 108\nMargutta 397\nMarmorata 1072\nDe' Moroniti 229\nDelia Maschera d'oro 527\nDel Mattonato 1197\nDelle due Mole 1149\nDi Monserrato 682\nDi Monte Brianzo 509\nDi Monte Caprino 971\nDi Monte Oitorio 337\nDel Monte della Farina 762\nDi Monte Magnanapoli 118\nDi Monte Tarpeo 970\nDel Moretto 360\nDe' Morticelli 1135\nDelle Muratte 301\nDel Muro nnovo 1152\nNuova 245\nDell' Olmo 54\nOrsina 406\nDell' Or so 524\nPace 612\nDella Pallaccorda al Fico 588\nDelia Palombella 790\nDi Panico 577\nPaolina 52\nPaolina 370\nDel Paradise 628"}, {"page_pdf": 41, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4501, "texte": "Paradisi 151\nDi Parione 653\nDel Pellegrino 649\nDi Pescaria 1029\nDe' Pettinari 728\nDi Pie' di Marmo 845\nDelia Pilotta 282\nDel Pinaco 813\nPontefici 473\nDi Porta Leone 1042\nDel Priorato 99\nDelia Purificazione 379\nQuattro Capi 1035\nRasella 220\nDi Rigina Coeli 1222\nDelia Regola 745\nDe' Riari 1213\nDelle Rimesse 1141\nDi Ripetta 494\nDelia Rua 1027\nSalara Antica 383\nDelia Salara 1080\nDelia Salara Yeccbia 82\nDe' Salnmi 1111\nScaccia 1282\nDelia Scala 1181\nDi Schiavonia 463\nDelia Scrofa 817\nDe' Sediari, e Taccari 797\nDe' Sediari 414\nDelia Serena 420\nDe' Serpenti 141\nDelia Salita di Sforza 160\nDelle Sette Sale 34\nDi S. Sisto Yecchio 951\nDel Sole 84\nDi Spagna 1219\nDe' Sugarari 976\nDi Testa Spaccata 107\nDi Tor de' Conti 91\nDi Tor de' Specchi 980\nDe' Yascellari 1109\nDelia Yalle 779\nDelle Yergini 298\nDi S. Yitale 183\nDelia Yite 358\nVittoria 413\nDell'TTmilU 291\nTJrbana 152\no TOWERS o\nArgentina 773\nCantarelli 159\nOartularia de' Frangipani 933\nDi Casa Colonna 265\nDel Collegio Clementino 500\nNel Conservat. de' SS. Quattro 938\nDe' Conti 86\nNella Dogana della Grascia 926\nGaetana aS. Bartolomeo all'lsola 1098\nDel Grillo 128\nDi S. Lorenzo in Paneperna dentro\nI'orto 165\nDi S. Lucia in Selci nel Monast. 59\nMargana 996\nMillina 610\nDelle Milizie 130\nOttoboni 351\nPersiani 886\nDella S. Casa di Loreto 1158\nSanta Croce 1013\nSanguigna 518\nDe Specchi 980\nStefanoni 143\no VICOLI (ALLEYS) o\nDell'Ab.e Luigi 776\nDell'Agnello 542\nDell'Agnello detto Scelerato 68\nDell'Albergo de' Marchegiani 803\nD'Alibert 1224\nDell'Aquila 641\nDell'Arcaccio . 1155\nDell'Archetto 319\nD'Ascanio 443\nDegl'Avignonesi 222\nDel Babuccio 248\nDe' Balestrari 719\nDelle Boccie 1103\nDel Bologna 1180\nDel Borghetto 400\nDi Bucimazza 1045\nDel Bnco 1147\nDelia Bufola 973\nDi Cacciabove 308\nDi Calabraga 659\nDelia Campana 505\nDel Canale 1124\nDel Canestraro 1198\nDei Capellari 685\nDelia Oaprareccia 163\nDe' Carbonari 104\nDel Cardello 69\nDe' Cartari 658\nDe' Cenci 752\nDe' Cesarini 889\nDe' Ceatari 872\nDi Ciancaleone 150\nDi Cimarra 147\nDe' Cimatori 554\nDel Cinque 1178\nDel Cipresso 1177\nDelle Colonnelle 335\nDelia Colonna 212\nDe' Colonnesi 268\nDel Coral]o 590\nDelia Crociata 1148\nDelia Cuccagna 622\nDel Falcone 210\nDel Farinone 1305\nDe' Fenili 965\nDelia Fontanel!a 1043\nDei Frati 1316\nDei Prati 1112\nDelia Fiezza 474\nDelia Frusta 1185\nDel Gallinaccio 227\nDel Gallo 707\nDel Gambaro 431\nDelia Gatta 858\nDelia Gatta 583\nDel Govern o 654\nDe' Granari 617\nDel Grancio 543\nDelia Greca 1085\nDelle Grotte 720\nDegl' Ibernesi 125\nDell' Inferno 485\nDell' Isola 1097\nDel Lauro 83\nDel Leoncino 507\nDel Leoncino 1183\nDel Leoncino 1266\nDe Leutari 644\nDelia Lunetta 689\nDelia Lnpa 449\nDi Madonna Lucrezia 904\nDel Masclierino 1306\nDe' Materielani 810\nDe' Matericiani 534\nDe' Mazzarini 171\nDel Melone 796\nDel Merangolo 237\nDel Merangolo 454\nDel Merangolo 1184\nDel Merangolo 747\nDe' Miracoli 487\nDelle Mole 952\nDelia Moletta 1095\nDi Monte Polacco 63\nDi Montorio 687\nDelia Moretta 669\nDel Moro 1174\nDe* Moroni 1205\nDe' Rari 788\nD' Orfeo 1303\nDell' Oro 551\nDelle Palle 556\nDelle Palle 1304\nDelia Palma 223\nDelia Palma 538\nDelia Palma 1113\nDelia Palombella 513\nDel Pavone 571\nDe' Pastini 326\nDelia Pedacchia 915\nDel Pelliccia 1176\nDelia Penna 489\nDelia Pergola 467\nDel Pernicone 88\nDel Perugino 1268\nDel Piombo 280\nDe' Polacebi 1000\nDe' Pozzi 78\nDel Pozzo 307\nDel Pozzo 1162\nDel Pozzolo 77\nDelia Reneila 1173\nDe' Riari 1209\nDi Rninaglia 161\nDi Sacchetti 1153\nDel Sambueo 144\nDe' Saponari 972\nDi Savelli 650\nDi Savelli 1034\nDelle Scalette 490\nDelle Scalette 1215\nDello Scalone 1275\nDi Scanderbech 246\nDelia Scarpetta 1105\nDelia Scimia 563\nDe' Sediari 744\nDelia Serpe 1071\nDe' Soldati 520\nDel Sole 602\nDelia Spada d' Orlando 327\nDe' Spagnuoli 819\nDelia Stella 1150\nDello Struzzo 676\nDe Taroli 116\nDelle Telline 545\nDelia Torre 1032\nDelia Yaccarella 820\nDel Vantaggio 482\nDe' Veseellari 1115\nDe' Vecchiarelli 537\nDe' Yenti 711\nDel Yillano 1317\nDelia Yolpe 601\nDe' Zucchelli 371\nTHE AUTHOR'S NOTIFICATION.\nTHE modern buildings are indicated by lighter and finer lines.\nThe deeper and darker outlines indicate the ancient buildings which are\nstill standing.\nThe dotted lines show those parts of the ancient buildings which have\nbeen pulled down, but which had already been delineated by others while\nthey were still in existence.\nThe dotted lines which pass across the streets denote the confines of\nthe Rioni (or Quarters).\nThe names of the Rioni which are written and the lines which are\nmarked in the margins of the sheets serve solely to facilitate the fitting together\nof the same."}, {"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 1760, "texte": "EXPLANATION OF SOME LETTERS\nOF THE INDEXES AND SIGNS SEEN IN THE PLAN.\nT. C. Titolo Cardinalizio.\nD. C. Diaconia Cardinalizia.\nAN APPRECIATION OF NOLL'IS PLAN.\nWe have pleasure in printing below\nthe translation of a letter re-\nceived from the Superintendent of ihe\nState Archives of Roma, written upon\nreceiving a copy oj ihe January number\nof \" The Mask containing the\nreproduction of Nolli Plan. Ed.\n\" T thank you heartily for the very\nA welcome arrival of Nolli's beautiful\nplan, which, in the eighteenth century,\nso worthily opens the series of plani-\nmetric plans of Roma.\nThe cartography of the city already\npossesses here in Roma various illustra-\ntive works of worth, such as those of De\nRossi, Rocchi and Cardinal Ehrle:\nbut none, save for the example given,\nexquisitely as always, by Di Gnoli,\nreaches beyond the first half of the\nseventeenth century, nor gives the picture\nof that Papal Roma which is more\nfamiliar to us, and which was the one\nknown by a Stendhal, a Chateaubriand,\na Goethe.\nNolli's Plan, at once so precise and\nso picturesque, gives us the image of\nthat Roma, the Roma of Benedetto XIV;\nand hearty thanks are therefore due to\nyou for having provided for the filling\nof so deplorable a vacuum, and for\nhaving furnished so secure a guide in\nthe world of the past for retrospective\npilgrims of Yaurea Roma.\nWith renewed thanks,\nEugenio Casanova.\nOther appreciative letters have reached\nus, such as that from the from other\nscholars, such as Superintendents of the\nRegia Biblioteca of Torino and Modena,\nand the Superintendent of the Royal\nArchives of Bologna, who adds the\ninformation that this reproduced plan\nis of especial value and interest in that\ncity since it was dedicated by its\nauthor to the Bolognese Pope, Bene-\ndetto XIV."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c026", "article_bluemountain": "bmtnaau_1925-04_01#c026", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.1", "titre_corps": "Cemetaries", "titre_sommaire": "Cemetaries", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1762, "fin_caractere_exclue": 1773, "texte": "Cemetaries."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c027", "article_bluemountain": "bmtnaau_1925-04_01#c027", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.2", "titre_corps": "Fountains", "titre_sommaire": "Fountains", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1775, "fin_caractere_exclue": 1785, "texte": "Fountains."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c028", "article_bluemountain": "bmtnaau_1925-04_01#c028", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.3", "titre_corps": "Conduits of which the outlet is covered", "titre_sommaire": "Conduits of which the outlet is covered", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1906, "fin_caractere_exclue": 1946, "texte": "Conduits of which the outlet is covered."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c029", "article_bluemountain": "bmtnaau_1925-04_01#c029", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.4", "titre_corps": "Uncovered opening of Conduits", "titre_sommaire": "Uncovered opening of Conduits", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1787, "fin_caractere_exclue": 1817, "texte": "Uncovered opening of Conduits."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c030", "article_bluemountain": "bmtnaau_1925-04_01#c030", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.5", "titre_corps": "Quarters of the Soldiers", "titre_sommaire": "Quarters of the Soldiers", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1819, "fin_caractere_exclue": 1844, "texte": "Quarters of the Soldiers."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c031", "article_bluemountain": "bmtnaau_1925-04_01#c031", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 42, "image_fin": 42, "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=bmtnaau192504-01.2.11.6", "titre_corps": "Gates now closed that are to be seen in the walls of Roma", "titre_sommaire": "Gates now closed that are to be seen in the walls of Roma", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "debut_caractere": 1846, "fin_caractere_exclue": 1904, "texte": "Gates now closed that are to be seen in the walls of Roma."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c033", "article_bluemountain": "bmtnaau_1925-04_01#c033", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "image_debut": 43, "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=bmtnaau192504-01.2.12", "titre_corps": "ARTISTS AND INTERPRETERS", "titre_sommaire": "ARTISTS AND INTERPRETERS", "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": 43, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 5632, "texte": "ARTISTS AND INTERPRETERS\nX. Y. Z.\nAN interesting note upon the late\nLeon Bakst in the 44 Observer \"\nJan. 4, / 925 caught my eye the other\nday and I give it here because it raises\na rather curious question.\n44 A small point, that is nevertheless\n44 an important point with the designer\n44 of costumes, seems to have been\n44 overlooked in many of the obituaries\n4i of the Russian Artist, Leon Bakst*\n44 Bakst was not only an artist but also-\n-44 a workman. In scenic and costume\n44 designs he knew both the general\n\" effect he wanted and the exact means\n44 of obtaining it, A drawing for a\n44 dress by Bakst —sumptuous and beau-\n-44 tiful picture as it often made—ai-\n-44 ways remained a working drawing:\n44 of the precise dress that Bakst in-\n-44 tended, something that a workman\n44 could understand and cut from. In\n44 the day of amateurs, when a cos-\n-44 tume design is often a pretty picture\n44 first of all—a sketch for an idea o£\n4 * a dress, leaving all the real problems\n44 to be solved by the cutter out\n44 this thoroughness and workmanlike-\n-44 ness was remarkable.... A glimpse a£\n44 the colour-notes that Derain made for\n44 the charming 44 Boutique\n44 dresses, shows how much Derain owed.\n44 to the cleverness (even the inventive-\n-44 ness) of the workmen who trans~\n44 lated them into material.\n44 too good a workman to leave any mar-*\n44 gin for the 44 inventiveness \" of other\n44 people carrying out his designs \".\nThis is all quite sound and* I am\namong those who do not want too many\nn pretty picture\" artists in a theatre..\nFor these pretty nobodies are somewhat\nof a nuisance. Already too many of\nthem have stowed themselves away in\nthe new movement.\nThe International Exhibition of New\nTheatre Technique held in Vienna in\n1924 offered us only too many such\nvanities. Anything less technical could\nnot possibly be produced* Anyone\nwho possesses a copy of the illustrated\ncatalogue of that exhibition,, can turn\nfor himself to page 7, where he will\nfind two Figurinen by F. Leger which\nwould cause quite enough trouble all\nround. On page 42 is another such\nFigurine, this one is by George\nGrosz: and another by the same de-\nsigner on page 43. Awfully clever,\nthey may be : but far too troublesome.\nOn page 55 we come to a couple of\ntrifles by Oskar Schlemmer which,\nmight give a first-class cutter and hi&\nassistants five days unnecessary labour\nand cause some pain to the spectators-\nafterwards. Then Herr Exter's little:\nnotion on page 68 is not exactly en-\ncouraging..*. and four affairs on page 73-\nwould, I fear, depress the staff, though\nit would not convulse it as would the-\nterror on page 80. Takuloff did that.\nBut these things would not only be\nttroublesome to the technical men be-\ncause all the difficulties had been shir-\nked by the disdainful designer, but be-\ncause they are worthless things*\nNow suppose we take a design for\na costume of great worth by a very\nfamous designer,,... one by Inigo Jones\n(1573-1652); and suppose that this\ntoo is drawn without any indication\n- the cutter needs ; are we to throw that\naway too as useless. And are we to\ndamn the whole system ?\nLet us first look a little more care-\nfully into the methods of those older\ndays. Doing so we find that as soon\nas Inigo has drawn a brilliant sketch\nof a costume he passes it on to the first\ninterpreter. And this is not, as might\nbe supposed, the cutter or the tailor.\nIt is another designer.\nWhat does this man do? Does\nhe interpret freely, changing here and\n*tjhere as he goes along as a protest\n-agaijist Inigo's genius ? Not a bit of it.\nHe positively makes an effort.\nNow this is almost unbelievable. Yet\nthat is precisely what he does.\nHe makes an effort to redraw it\nline for line, ,cuff, buttons, doublet,\nlaces, knots, skirt linings, all as Inigo\nhas done ; only he makes each item\nclearer as a fact and divests it of all\nits fancy, its charm, as a drawing. He\npositively interprets faithfully and well.\nI am by no means opposed to the\nopinion expressed by the writer in the\n*4 Observer \" paragraph; but we must\nlay down no hard and fasj law about\nanything of this kind.\nWhile 1 think it might be good for\nteyery costume designer to learn to cut#\nsfitch, pin, chalk, and generally act the\nyou've lost your Inigo Jones at\nonce, M you make it anything like a law.\nA far wiser thing to do is to train\nAnd I know no better\nexamples,to guiifo such interpreters than\nffe copies which exist in the superb\nvokme of the works of Inigo Jones\nJately issued by the Clarendon Press.\nWku but half an eye you can\nsee ?there the whole process, and it is\na process which could easily be learnt.\nAll ihat is required is very long prac-\ntice, continued exercise as copyist, and\nno fights of fancy ; absolutely no 44 in-\nventiveness \\. Therefore a superb trai-\nning for beginners who have some talent.\nSome of you may perhaps agree with\nime that the beginners start exhibiting\nin galleries and showing off in journals a\nTittle too soon. What would you have ?\n■Put them to work as interpreters, —as\ncopyists —as the go-between twixt tailor\nand artist, and perhaps a big and trou-\nblesome problem has been solved.\nThis is perhaps what is being done\nmo wad ays in several theatres but ft is\nrmst done well enough. Their copyists\n■fihwve not clever enough eyes. They\neight or ten out of twenty points.\nfTo sum up : while the Bakst me-\nthod is first class, the Inigo Jones me-\nthod is probably more valuable to the\ntheatre, for it provides a training school\niin the wardrobe for the student, it\nhelps the tailor and cutter immediately,\ncand rids us of those silly exhibitions of\n(sawkish calf-work which are beginning\n4o grow into a nuisance."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c035", "article_bluemountain": "bmtnaau_1925-04_01#c035", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 44, "image_fin": 44, "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=bmtnaau192504-01.2.13", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 5664, "texte": "FOREIGN NOTES.\n\nONCE ST. PETERSBERG.\nCOME delightful pictures of Isadora Duncan's immense\nschool of the Dance, at last permanently founded (at\nleast so we pray) in the city which we always remember\nas St Petersberg, recently appeared in 44 Commoedia\nParis. As head instructress of these pupils, some thousand\nto guess from the crowd of Jeunes filles on the banks of\nthe stream in picture b, stands Irma Duncan.\n\"What, a daughter ? Bless your heart no and yes.\nShe was once upon a time a little German girl in the\nmost middle-class surroundings in the town of Hamburg\n( I think) ; worked as she works now, faithfully and well,\nonly perhaps without ever having seen a theatre or the\nbig world or heard music. Now she has seen all; and,\nremaining faithful and working well, is not altered, ....\nonly happier. Was it not worth it all ?\nAnd there are some odd folk battling all their lives to\nprevent the spread of the dance, the theatre, and all\nwhich is happy, believing that all which is grey and pinched\nis better for their souls.\nA hundred times better if they have no fidelity and\nare merely farthing egoists.\nBut even if this great dancer only found one being\nworth its freedom it was well done to have let loose a\nhundred to their destruction. That is what still has to\nbe learnt by some people. So, brava Irma.\nAs a matter of fact, out of a hundred pupils 1 believe\nJsaaora Duncan can count as many as five successes,,, ana\nI think that is a triumph.\n\nPARIS\nAT the Vaudeville Madame Ida Rubinstein was recently\n** again playing 44 La Dame aux Camillas \" in her ori-\nginal way. She advertised the scenes, costumes and furniture\nas : 44 Decors and costumes of tne period from the designs of\nM. Alexandre Benois. Furniture and accessories are real\nworks of art loaned by private New stage\nsetting by M. Armand Bour. n\nWhich rec&lls to me a passage fr<om that little known\nbook by Mr Gordon Craig, i 4 The Theatre Advancing\nin which tie contrasts a permanent antd a temporary theatre,\nand speaks of the sham properties of the ordinary play-\nhouse as being excellent for a theatne which has no ambi-\ntion to endure,\nMadame Rubenstein possibly feels that real works of\nart (even though but loaned for the occasion) render her\nVaudeville one of the first permanent Theatres, But alas,\nthis is not all we look for in the way? of permanence.\nThe Vaudeville Theatre itself i& i a temporary play-\nhouse judged by the standards of 4 4 The Theatre Advan-\ncing and the play, 41 La Dame aux Camelias \" a play\nfor a few days.\nNotions of permanence are curiously ephemeral nowa-\ndays ; still, a pose of permanence should deceive for a\nmoment. What could be more charming, and who could\nconvince us better than Madame Rubenstein.\n\nMONZA - THE PALAZZO RE ALE.\no BIRDS AND ANIMALS. o\nVISITING this old house of the Kings, recently given\nby the reigning King of Italy to the Nation, I was a\nlittle surprised to find it swarming with artists and craftsmen.\nI have heard here and there (in Paris and London\n1 for instance) quite a few people who speak ill of Italy\nwhen its modern arts are under discussion. \" The Italians\ndo nothing for their artists\" is the cry, taken up by\n\" i here are no Italian artists to do anything for\nAnd then back comes the group to their dear little\nselves. France is this and that, America the other, and\nEngland—a hush falls, a voice speaks coldly, firmly,\n\" England devotes considerable time and thought to the\nconsideration, the encouragement and the support of its art\nand its artists \".... And the stance breaks up.\nAs a matter of fact on getting to Monza and seeing\nthe activities in the Villa Reale—an immense palace at\nthe service of the artists—another palace (one near London)\npopped up before my mind's eye and refused to quit. This\nvision was Hampton Court Palace. And a tiny voice a\nmy mind's ear kept crying out, \" There's Hampton Court.\n—The very place for English artists.—Is it theirs, my boy,\nis it theirs ? *\\ I was quite annoyed at my own mind\nbehaving in this way. \" Will you keep quiet and allow\nme to forget a few things \", I urged : but instead of that\nmy eye and my ear were annoying me for the whole of\nthat day, during all of this delightful visit to the\nMonza Palace, by a whispering and a string of Cinemato-\ngraphic dissolving views of the great empty Palaces of\nEngland, and \" There's a place ....this Vanburgh palace \",\nor \" look here, what about this one ? \".\nIt was annoying because it was unreasonable. The\nowners of the Vanburgh buildings need a little room ror\nthemselves, dash it all: and if not for themselves, an occa-\nsional ruin looks so picturesque even in Northumberland.\nWarwick Castle without its Americans, what would it be\nlike, I ask ? Anyhow Monza is for the artists. I was\ntaken to see it by the delightful Signor Fracchia and his\nfriends Signor Caisini and Signor Valentini. Fracchia as\nyou know is the able editor of \" Comoedia \" ; but more\nthan this, he is a charming fellow.\nBefore visiting the Palace Signor Caisini said we\nmust all go to see the divine fresco in the cathedral.\nIt wasn't merely a fresco, it was all that is perfect.\nThere around us was a music, not heard on sea or land,\nrunning up and down the walls: ....do not please ima-\ngine I exaggerate. All desire to see the Palace walked\nquietly away (what seemly behaviour) as my eyes ran up\nand down the walls of the Cathedral.\nMy friends were here more charming than ever before,\nand I shall always remember them in that chapel.\nThis is possibly sentimentality. It may be : how can.\none explain it ? But Hampton Court\nTHE AVERAGE FEE FOR A THREE ACT\nPLAY IS FIVE POUNDS PER PERFORMANCE.\nMonica Ewer in. *' Play Production for Everyone"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c037", "article_bluemountain": "bmtnaau_1925-04_01#c037", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 44, "image_fin": 44, "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=bmtnaau192504-01.2.13.2", "titre_corps": "ONCE ST. PETERSBERG", "titre_sommaire": "ONCE ST. PETERSBERG", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.44", "debut_caractere": 16, "fin_caractere_exclue": 1454, "texte": "ONCE ST. PETERSBERG.\nCOME delightful pictures of Isadora Duncan's immense\nschool of the Dance, at last permanently founded (at\nleast so we pray) in the city which we always remember\nas St Petersberg, recently appeared in 44 Commoedia\nParis. As head instructress of these pupils, some thousand\nto guess from the crowd of Jeunes filles on the banks of\nthe stream in picture b, stands Irma Duncan.\n\"What, a daughter ? Bless your heart no and yes.\nShe was once upon a time a little German girl in the\nmost middle-class surroundings in the town of Hamburg\n( I think) ; worked as she works now, faithfully and well,\nonly perhaps without ever having seen a theatre or the\nbig world or heard music. Now she has seen all; and,\nremaining faithful and working well, is not altered, ....\nonly happier. Was it not worth it all ?\nAnd there are some odd folk battling all their lives to\nprevent the spread of the dance, the theatre, and all\nwhich is happy, believing that all which is grey and pinched\nis better for their souls.\nA hundred times better if they have no fidelity and\nare merely farthing egoists.\nBut even if this great dancer only found one being\nworth its freedom it was well done to have let loose a\nhundred to their destruction. That is what still has to\nbe learnt by some people. So, brava Irma.\nAs a matter of fact, out of a hundred pupils 1 believe\nJsaaora Duncan can count as many as five successes,,, ana\nI think that is a triumph."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c038", "article_bluemountain": "bmtnaau_1925-04_01#c038", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 44, "image_fin": 44, "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=bmtnaau192504-01.2.13.3", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.44", "debut_caractere": 1456, "fin_caractere_exclue": 2715, "texte": "PARIS\nAT the Vaudeville Madame Ida Rubinstein was recently\n** again playing 44 La Dame aux Camillas \" in her ori-\nginal way. She advertised the scenes, costumes and furniture\nas : 44 Decors and costumes of tne period from the designs of\nM. Alexandre Benois. Furniture and accessories are real\nworks of art loaned by private New stage\nsetting by M. Armand Bour. n\nWhich rec&lls to me a passage fr<om that little known\nbook by Mr Gordon Craig, i 4 The Theatre Advancing\nin which tie contrasts a permanent antd a temporary theatre,\nand speaks of the sham properties of the ordinary play-\nhouse as being excellent for a theatne which has no ambi-\ntion to endure,\nMadame Rubenstein possibly feels that real works of\nart (even though but loaned for the occasion) render her\nVaudeville one of the first permanent Theatres, But alas,\nthis is not all we look for in the way? of permanence.\nThe Vaudeville Theatre itself i& i a temporary play-\nhouse judged by the standards of 4 4 The Theatre Advan-\ncing and the play, 41 La Dame aux Camelias \" a play\nfor a few days.\nNotions of permanence are curiously ephemeral nowa-\ndays ; still, a pose of permanence should deceive for a\nmoment. What could be more charming, and who could\nconvince us better than Madame Rubenstein."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c039", "article_bluemountain": "bmtnaau_1925-04_01#c039", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 44, "image_fin": 44, "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=bmtnaau192504-01.2.13.4", "titre_corps": "MONZA - THE PALAZZO REALE", "titre_sommaire": "MONZA - THE PALAZZO REALE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.44", "debut_caractere": 2717, "fin_caractere_exclue": 5664, "texte": "MONZA - THE PALAZZO RE ALE.\no BIRDS AND ANIMALS. o\nVISITING this old house of the Kings, recently given\nby the reigning King of Italy to the Nation, I was a\nlittle surprised to find it swarming with artists and craftsmen.\nI have heard here and there (in Paris and London\n1 for instance) quite a few people who speak ill of Italy\nwhen its modern arts are under discussion. \" The Italians\ndo nothing for their artists\" is the cry, taken up by\n\" i here are no Italian artists to do anything for\nAnd then back comes the group to their dear little\nselves. France is this and that, America the other, and\nEngland—a hush falls, a voice speaks coldly, firmly,\n\" England devotes considerable time and thought to the\nconsideration, the encouragement and the support of its art\nand its artists \".... And the stance breaks up.\nAs a matter of fact on getting to Monza and seeing\nthe activities in the Villa Reale—an immense palace at\nthe service of the artists—another palace (one near London)\npopped up before my mind's eye and refused to quit. This\nvision was Hampton Court Palace. And a tiny voice a\nmy mind's ear kept crying out, \" There's Hampton Court.\n—The very place for English artists.—Is it theirs, my boy,\nis it theirs ? *\\ I was quite annoyed at my own mind\nbehaving in this way. \" Will you keep quiet and allow\nme to forget a few things \", I urged : but instead of that\nmy eye and my ear were annoying me for the whole of\nthat day, during all of this delightful visit to the\nMonza Palace, by a whispering and a string of Cinemato-\ngraphic dissolving views of the great empty Palaces of\nEngland, and \" There's a place ....this Vanburgh palace \",\nor \" look here, what about this one ? \".\nIt was annoying because it was unreasonable. The\nowners of the Vanburgh buildings need a little room ror\nthemselves, dash it all: and if not for themselves, an occa-\nsional ruin looks so picturesque even in Northumberland.\nWarwick Castle without its Americans, what would it be\nlike, I ask ? Anyhow Monza is for the artists. I was\ntaken to see it by the delightful Signor Fracchia and his\nfriends Signor Caisini and Signor Valentini. Fracchia as\nyou know is the able editor of \" Comoedia \" ; but more\nthan this, he is a charming fellow.\nBefore visiting the Palace Signor Caisini said we\nmust all go to see the divine fresco in the cathedral.\nIt wasn't merely a fresco, it was all that is perfect.\nThere around us was a music, not heard on sea or land,\nrunning up and down the walls: ....do not please ima-\ngine I exaggerate. All desire to see the Palace walked\nquietly away (what seemly behaviour) as my eyes ran up\nand down the walls of the Cathedral.\nMy friends were here more charming than ever before,\nand I shall always remember them in that chapel.\nThis is possibly sentimentality. It may be : how can.\none explain it ? But Hampton Court\nTHE AVERAGE FEE FOR A THREE ACT\nPLAY IS FIVE POUNDS PER PERFORMANCE.\nMonica Ewer in. *' Play Production for Everyone"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c040", "article_bluemountain": "bmtnaau_1925-04_01#c040", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "94", "image_debut": 45, "image_fin": 48, "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=bmtnaau192504-01.2.14", "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": 45, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 6434, "texte": "BOOK REVIEWS\n\nAN INTRODUCTION TO DRA-\nMATIC THEORY hy Allardyce\nNicoll M. A. Harrap & Co. 5/-.\nA particularly well printed book of\n218 pages, the paper of which\nis good instead of cheap and nasty.\nWhy I speak of this first is that it is\ntime some other celebrated firms stop-\nped using paper horrible both to look\nat and to touch. A book reviewed re-\ncent iy in these pages has but 181 pages,\ncosts 7/6, and a badly made paper\nhas been used.\nThat is what we would call 44 disho-\nnest \" if living under a Fascist go-\nvernment ; but which here we will\nmerely call ungenerous of the publishers,\nwho might take a lesson from George\nHarrap & Co.\nDr Nicoll's essay is, it goes with-\nout saying, a serious good piece of\nwork; but I wonder if the author in-\nterprets aright the reasons why we laugh\nat comedy and why our pity is arou-\nsed by tragedy. We laugh, he says,\nbecause we are liberated by comedy\nfrom the ties and conventions of so-\nciety. If so, then everyone sees every\ncomic thing alike, and laughs the same\nlaugh at each, whereas this cannot\nsurely be the case.\nWhen speaking of Tragedy he takes\nOthello as an example of a figure we do\nnot sympathise with \" to the extent of\nfeeling pity \" for him. Well, I must\nsay that I do. And I fail to see what\nShakespeare was about, that he failed\nto touch the sense of pity in Mr Ni-\ncoll. But that he and the other dra-\nmatists have tempted Mr Nicoll to\nwrite a book of Theory on this so dif-\nficult subject, is not at all a triumph\neither for Tragedy or Comedy. We\ncan neither laugh at nor pity our au-\nthor : rather do we (without asking\nleave of delightful Miss Ashwell) pity\nourselves and others like ourselves, who\nare placed in the comic position of\nhaving to review so learned a book\nwithout a very long time to digest it pro-\nperly. Thus wre see that the comic some-\ntimes can call forth pity and not\nalone self-phy, though to pity anything\nwe must, alas, first have recognized\nourselves in that which we pity.\nYes, to write a book about Co-\nmedy and Tragedy is to write the hi-\nstory of the world ; can it be dene in\n218 pages ? would not 28 pages be\nenough ?... and is it not in 28 pages\nthat the fine poet does write his hi-\nstory of the world, and is not that the\nfull sum of all that can be said upon\nTragedy and Comedy?\nBut Mr Nicoll means Tragedy and\nComedy, as set forth in Tragedies and\nComedies for a stage. 7 hen 4 tis an\nimpossible subject. A book on one\nplay, one Tragedy or one Comedy,\nwould suffice to tax anyone but Aris-\ntotle, and Aristotle was, as A. B. W.\none day pointed out to G. B. S. at\nthe Garrick Club, only intended to\nbe read in manuscript by a few.\n\nSONS OF JACOB, a Play by J.\nRainis. Translated by Grace Rhys.\nDent & Sons Ltd. 10/ 6 net.\nJ Rainis is a Latvian poet and play-\n• wright. Latvia is that part of Nor-\nthern Europe which lies between\nPrussia and Russia, Finland and Swe-\nden. It is washed by the Baltic Sea.\nThis play has been performed with\nsuccess in Riga, the Latvian capital,\nhas been translated into many Euro-\npean tongues, and now into English.\nIt is a powerful thing, and, well\nacted, could not fail to do good, which\nfrom our English point of view may\nseem to be its most useful purpose.\nIt is not a pleasant play ; the specta-\ncle of Levi and his brothers gashing\nyoung Joseph with thorns to relieve\nsome thirsty Hebraic feelings, is not a\ntragic spectacle; it is not comic either ; I\ndo not think I particularly like it. If\nwe must be lurid I prefer, for this our\nEnglish climate, the more ordinary stage\nspectacle of a young gentleman apolo-\ngizing to our east-end loafer for ha-\nving inadvertently made use of the\nword damn.\nThe play has something grand in\nits last two acts, but they seem to be\ntoo long. An unfortunate thing about\nthe principal role is that it needs two\nactors ; one for the first act, another\nfor the last. Joseph, and whoever acts\nhim, in Act I is to be 44 seventeen\nyears old \" ; in Acts 3, 4, and 5 he,\nand whoever acts him, is 44 about thirty\nyears old \". For two different men\nto have to perform the part would\nbe fatal. Yet suppose we ask a\nyoung actor of fifty-six to play the\npart, (no one younger than fifty-sixt or\nfifty-five, would be trusted with it\non the English stage), he will be\nable to get through the last three\nactst but he will not look the first\ntwo. If we are rash, and give the part\nto a younger man he will look the\nfirst two acts and do nothing more.\nYet an author, if he deal with this\nold tale, must show us Joseph young\nand Joseph old. I conclude that it is,\nfor this reason, one of those tales which\ndo not stand stage treatment.\nThe translator seems to have done\nher work amazingly well: for to tran-\nslate even a text book from Latvian\ninto English must be very difficult, and\nto translate a play must be almost\nimpossible.\nPersonally I have no taste in plays\nwhich have the slightest touch of pro-\npaganda in them ; and, while I may be\ngreatly mistaken, I take this to be a\npropaganda play.\nIt is a well-printed book, well bound,\nand a cheap five shillings' worth;\nand it will give pleasure to those who\ncannot comprehend the Bible. I am a\nreader of the Old Testament because\n1 find it thrilling, pictorial, musical, pro-\nfound and gay ; and above all REAL.\nSo real that, when any modern writer\nattempts to re-do a bit of it here, a\nbit there, he transforms it into something\nquite false.\nThat being what many people like,...\nfor the modern world loves flirting\nwith a masterpiece... I think they will\nenjoy this pla).\n\nA PRIMER OF MODERN ART\nhy Sheldon Cheney. Boni & Liverighi,\nNew York.\nWILL anyone burn a book or a\ncity because 298 of the virtues\nare not to be found therein? So long\nas two or even one of the best are\nthere, what matter the rest.\nIn Cheney's book are plenty of\nfaults, but he has given me one hun-\ndred and seventy five illustrations, mostly\nby the best of the best artists of the\nday or yesterday.\nI was reading Meier-Grafe's book\non Van Gogh, a book from which I'd\nhave cut away a hundred pages at the\nbeginning, reducing them to a few plain\nfacts readable in twenty pages so as to\nmake it one of the great 44 Lives \"\nof the age: and in the book I came\nacross Seurat's name, and, not knowing\nwhat Seurat's work was at all like, I\nfound an example in this Cheney book.\nAnd there are one hundred and se-\nventy four other designs for those who\nare not experts and who want to see\nwhat the names Gauguin, Matisse,\nCezanne, Brancusi or Picasso signify."}, {"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 6848, "texte": "I ought to know what these names\nmean, but I don't: and one ought to\nknow how to spell these names, but one\ndoesn't always know how even to spell\nsimple words like Xylograph and Man-\ndolin.\nSo then surely nothing can ever be\nvery wrong with such a book if in it\nwe can find a true if a primary\nvalue, ie, a use for it. And Cheney's\nbook has a use, for me, and I do not\ndoubt that it has several uses for others.\nBesides this the author has included\nthe theatre in this book on 44 the re-\nnewed life in painting, sculpture and\narchitecture \" ; and while some of us\nstill think it too early for any such\nhonour of that kind, it is not possible\nfor us to be blind to the compliment.\nIn his Preface he disavows the inten-\ntion of posing as a big Idol of a critic,\nand suggests that his book is a little\nPrimer. I have enjoyed the primer,\nand I know I shall often refer to it\nwhen ever in doubt about a fact.\n\nA HISTORY OF THE THEATRE\nIN AMERICA, hy Arthur Hornbldw.\n2 Vols. Lippincott & Co. $ /0.00\nTHE copy I have was not sent for\nreview, but I wish to make a\nbrief mention of the work because it\nis full of interest to the student of\nTheatrical History, and valuable. Many\nan excellent print or drawing is repro-\nduced of theatres, actors, managers,\ndancers.\nThere are omissions : — the va-\nluable testimony to the worth of the\nNew York Theatres in 1850-60 or\nthereabouts ; the author's note on Ir-\nving's visit; his experience of the\nTheatres of the Southern States,...\nthese things ought not to have been\nleft out. The view of so celebrated\na Theatre as the Old Bowery deserved\na full page plate, if not two, and a\nview of the interior surely exists.\nBut the book is just what is wanted,\nand it will be of assistence to anyone\nwho wishes later on to make a larger\nbook on this interesting subject.\n\nELEONORA DUSE: The Story\nof her Life, by Jeanne Bordeux.\nHutchinson & Co. 2 //- net.\nIN her Preface the writer tells us that\nshe took three months 44 compiling\nand writing \" this story of the life of\nEleonora Duse; and considering how\nfew days can be squeezed into three\nmonths it will be admitted by every\nserious writer; that, to do anything at\nall in so short a time, is little short of\nmarvellous.\nThe other kind of writer ....the su-\nperficial thinker and the slipshod re-\ncorder.... will not agree with us. He\nwill say that he considers ninety days\nlong enough time to concoct any really\nchatty 44 Life \". And one had forgot-\nten, for the moment, that it is a really\nchatty book that is wanted today.\nMiss Bordeux, (who is neither Ita-\nlian nor French), evidently doesn't forget\nthis, yet goes bravely on; with the\nresult that, if she is not almost a failure\nhere and there, she does succeed in\ngetting it all done in time.\nWhile she wrote the book on Duse,\nshe says, she 44 absolutely lived and\nsuffered with her \" and her 44 vast\nadmiration \" became 44 a reverent love\nand she adds that 44 no one in the\nworld ever succeeded in knowing her\nas I did \". (She met her for the first\ntime in October 1922. Duse died\nApril 1924). Whilst Madame Duse's\nfriends all seem to have seen the\ngreat actress in different lights she\nalone appears to have seen her 44 in all\nthose lights merged into one \". Un-\nfortunately the light was low now and\nagain when she was reading up the\nfacts and so she reports too many of\nthem incorrectly. But what can you\nin three months.\nAnd some of the names are so\noddly spelt. Instead of the celebrated\nMenzel we have the unknown 44 Mer-\nzel \" twice on one page : famous Be-\nno zzo Gozzoli becomes ignoto 44 Be-\nnazzo Gozzolin \" ; Matilda Serao be-\ncomes 44 Matilde Sarao \" : Giulio be-\ncomes 44 Guilio \" and Tommaso Sal-\nvini becomes 44 Tomasso Salvini \".\nLuigi Rasi is 44 the greatest young\nactor in Italy \" in 1899. Well. Duse\nin 1906 44 gave a performance at\nDrury Lane for the celebration of El-\nlen Terry's Jubilee\". But did she?\nSee Ellen Terry's 4' Memoirs\". An\nincident about a 4 4 broken bridge \" on\npage 211 is an invention.\nOn the other hand the writer cor-\nrects a few serious errors of the uni-\nnitiated.\nTo the report being 44 repeated on\nall sides \" that 44 D'Annunzio has\nabandoned her '* she says that 44 only a\nperson who had not known Eleonora\nDuse could believe that that was true\"....\n44 Eleonora Duse's love for D'Annunzio\nwas a consuming passion; she was jealous\nto the point of depravity—making his\nlife insupportable \".... 44 No, Eleonora\nDuse was not a victim : if there was\na victim in the case it was Gabriele\nD'Annunzio, and she .... for years\nmade his life insupportable by her con-\ntinual unreasonable jealousy \".\n44 My vast admiration for Duse has\nbecome a reverent love \" she has said\nin her preface.\n44 II Fuoco the book in which\nthe poet has made Eleonora Duse\ncome to life (and to a most noble\nlife) she says was published against\nthe wish of Eleonora Duse, and adds\nthat the story was 44 too evident, too\nblatant, too unmanly \".\nShe does not feel that D'Annunzio\nfound the right words to express the\nactress when at their first meeting he\ncalled her 44 Grande Amatrice \" (writ-\nten 44 Grand Amatrice\" on another\npage) ; 44 how much more worthy of\nher it would have been to have said\n44 fervid animator \". I don't know\nwhat you feel about this, but is it per-\nmissible to improve on the great, even,\nif in doing so, one misses a point ?\nThe passage I like best in the book\nis that which refers to a Roman gent-\nleman, Conte Giuseppe Primoli. Asked\nto supply 44 information \" for this work\nhe replied, 44 Much as 1 should like\nto help you, of the intimate life of\nEleonora Duse I can tell you nothing\nas it was her great wish that what was\nprivate remain private \".\nI am a hardened journalist who has\nserved his ten years in Fleet Street\nand been around the world for ano-\nther twelve, but must confess that had\nI been employed to write this book on\nthe lady we all so well remember, and\nhad I received this reply from Conte\nPrimoli, I think I would have put\ndown my pen, stopped the work, and\nout of admiration for her, let alone\n44 reverent love \", I would have satis-\nfied her 64 greatest wish \" by not pub-\nlishing \"this chatty book.\nBut the argument of gold is power-\nful, and as paltry as it is powerful.\n\nSHAKESPEARE'S HAND IN\nTHE PLAY OF SIR THOMAS\nMORE.\nPapers by Alfred W. Pollard, W.\nW. Greg, E. Maunde Thompson,\n/. Dover Wilson and R. W. Cham-\nbers. With the text of the III May\nDay scenes Edited by W. W. Greg.\nCambridge University Press. 10/- net.\nTHIS book is the second of a se-\nries entitled Shafcespeares Pro-\nblems which Professor A. W. Pollard\nand Mr J Dover Wilson are editing,\nand its object is to strengthen the evi-\ndence that Shakespeare wrote three\npages which form part of the play of\nSir Thomas More. Papers have been\ncontributed by Dr W. W. Greg, Sir\nE. Maunde Thompson aud Dr R. W.\nChambers, as well as by the editors.\nIt is absorbingly interesting, but I"}, {"page_pdf": 47, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 6767, "texte": "do not find that the three Shakespea-\nrean pages are particularly brilliant,\n1 find nothing in them which convin-\nces me unmistakably of the presence\nof that spirit we call Shakespeare.\nI am not moved.\nThis test is of course no test, so\nwhat other test is wo th a tinker's tin.\nBut no Shakespearean Library can be\ncomplete without this volume; and,\nsince it is a volume charmingly prin-\nted and excellently bound in fine red\ncloth, its back will lighten up the book\nshelf and the contents a careful rea-\nder's mind.\n\nTHE CONTEMPORARY DRA-\nMA OF RUSSIA by Prof\\ Leo Wie-\nner. Little Brown & Co. Boston.\nU. S. A $2.50.\nTHERE is no history of the con-\ntemporary Russian Drama in exi-\nstence, either in Russia or abroad\".\nWith these two lines the book begins.\nAnd it is a book which I have read\nwith much pleasure, and a good deal\nof instruction.\nHarvard University is to be congra-\ntulated on having a scholar like Prof.\nWiener who troubles about the Drama\nand the Theatre ; ....for, when all has\nbeen said against Dramatics and Thea-\ntricals, they do help to make life a\nlittle happier for as many of us as\ncare to read, or visit a playhouse\nThe one obvious fault of the book\nI would skip over as quicky as pos-\nsible, for it is a very human fault.\nIts author exaggerates in attributing\ntoo much to German influence. The\ndevelopments of the Russian stage on\nsuper-realistic and symbolical principles\nhave, he says, turned out to be 44 pale\nthough bold imitations of ill-understood\nGerman fads; and the Moscow Art\nTheatre, the Kamerny, Evr&nov's Mo-\nnodrama, stripped of the claptrap of\nnovelty, are thus reduced to very mo-\ndest proportions n. This passage makes\nme wonder whether Dr Wiener has\never been to Russia and ever seen\nthese Theatres at work. As I read\non I greatly doubt it.\nHe admits having found 44 the Wi-\ndener Library at Harvard University\nand the Congressional Library at Wa-\nshington so useful that 44 it was pos-\nsible to reconstruct the chronological\nsequence of dramatic events This\nwould inspire confidence in every stu-\ndent were the book free of all opi-\nnions, were it a purely historical\nwork\nBut when he hazards everything in\na quite unnecessary attempt to belittle\nmany of the best theatre men so as\nto prove that it was the Germans who\nhad a receipt straight from a slot-ma-\nchine HOW to inspire Europe in\nTheatrical things, then I am obliged\nto withdraw all trust in that side of\nthe book.\nWhich leaves me all the happier to\nenjoy to the full the first class account\nof how the Russian Drama was born,\ndeveloped, and all about Gogol and\nPoushkin, Griboyedov, Oslrovski and\nthe other brilliant dramatists of that\nplace in the north, which can boast as\nmany stupid men as we in the south\ncan, and can boast of more who worry\na hundred times as much as the rest\nof us do\nWorry seems to be a great inspira-\ntion in Russia. A little problem which\nthe South settled some centuries ago\nwill travel up to Russia somehow in\nsome obstinate thick head, and there\nfreeze into an eternal existence which,\nafter all, is a bit of a bore. And in\nthis book we see all the old problems\nworrying these able men and freezing\nas they teaze.\nThere they remain like monuments\nin ice, happy in being an eternal per-\nplexity.\nNow and again the ice cracks, a\nthaw sets in; but all is well before\nlong; another writer comes and the vexa-\ntion triumphs anew; 44it shall triumph ..\nwe will never admit defeat ; no one\nshall surpass us in the art of being di-\nsturbed by nothing \". So they seem to\nsay.\nBut it was to do no more than say\nhow admirable this book is in parts\nthat I decided to touch upon it\nnow.\nLater I hope to be able to return to\nit, to enquire into a few puzzling pas-\nsages and some omissions ; to ask how\nit is possible for the good Professor to\nstate that Stanislawski nearly wrecked\nthe Moscow Theatre;—to state that\nsome of the best actors 44 could not\nbrook \" Stanislawski whose 44 autocratic\npower \" offended them. I do not like\nto believe that those good Russian\nactors were cry-babies, dissatisfied with\n41 the narrowness and onesidedness of\nthe repertory and the humiliation and\npressure exerted upon the freedom of\nthe development of the artistic perso-\nnality of the actors of the company' .\nThis quotation comes from the protest\nsent in by Meyerhold, ....Meyerhold\nwho today seems to be enjoying a\nlittle spell of autocratic power and wor-\nrying on and on and on.\nAnd I wonder why Professor Wiener\nmakes no mention of Reinhardt ? ...and\nsays not a word of Wyspiansky, and\nwhy he omits all mention of the Ita-\nlians who went north and taught so\nmuch there.\nAnyhow, it is a bright book, and\nif Wiener must have his way about\nthe Germans, then let him ; ... but they\nmust then accept responsability for the\ncatastrophe of the Russian theatre of\ntoday which Dr Wiener has outlined\nso cleverly in the final chapter.\nThere we see the net result of try-\ning to influence according to clock-\nwork. The Soviet, he tells us, admits\nthat its Theatre has failed. The old\nItalian influence—that so natural one,\nhad it been properly absorbed, would\nnever have had such a wretched\nresult.\n\nA MIDSUMMER-NIGHT'S\nDREAM by William Shakespeare.\nCambridge University Press. 6/- net.\nWITH its one beautiful reproduc-\ntion by Mr Walker of the por-\ntrait of Elizabeth Vernon Countess of\nSouthhampton by goodness knows who,\nin quite the prettiest piece of serious\nbinding I have seen for some years,\nthis sample of the new Cambridge Edi-\ntion of the Works of Shakespeare\ncomes to us to prove what excellent\nwork can be done in England by prin-\nters, paper-makers, binders, editors and\npublishers, although the times are not\nall t at could be wished\nThe author of this play, recently\naccepted for production by the Ma-\nnagement of Drury Lane theatre, and\nput on there by the best \"producer\"\nLondon can afford, is a man of un-\ndoubted dramatic and poetic poten-\ntialities.\nUnfortunately his poetic muse is at\ntimes too powerful, or shall I say, too\npersuasive, and beguiles our author into\nrather too many vagaries : he wiil often\nleave the dramatic muse standing too\nlong while he forces us to listen to\npassages of uncalled-for poetry, uncalled\nfor by the situation.\nHe describes places too .minutely'in\nthe text. We really do not want to\nhear so much about 14 the bank where\nthe wild thyme blows \" ; .... In fact I\nregret to find so many long and talka-\ntive, if poetical, speeches which are\nnot needed by the Drama.\nThe young dramatist is anyhow a\nman of talent, and in spite of the re-\nception given to his Drury Lane li-\nbretto by the London critics, I do\nsincerely believe that when he has rid\nhimself of the fault just mentioned he\nwill, in time, come to take his place\nwith the dramatic writers of the pe-\nriod, with Barrie, Pinero, Sutro and\nA. G. Haffer."}, {"page_pdf": 48, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 5623, "texte": "THE ART Of THE THEATRE\nby Sarah Bernhardt. Geoffrey Bles.\nLondon. 7j 6.\nMR Agate has written a sympathe-\ntic preface to this volume of rub-\nbish, to quote Madame Bernhardt's\nown word for the book, ...,441e fatras\"\nshe called it: and M. Marcel Berger,\nwho, aided by M. Georges Ribemont-\nDessaignes had the difficult task of put-\nting the manuscript in shape for the\ngreat actress, has written a charming\nintroduction.\nBoth M. Berger and Mr Agate al-\nlude to Madame Bernhardt as Sarah.\nAnd I wonder why ? I ask myself\nwhether they called her Sarah to her\nface,... or perhaps it was Madame Sa-\nrah. I do not find Sarah is a parti-\ncularly happy name.... it reminds one\nforcibly of the jolly old charwomen.\nPerhaps this accounts for Mrs Sarah\nSiddons being known to all of us as\nMrs. Siddons, though doubtless the\nKemble family, and perhaps three or\nfour dearest friends, were' v/ont to call\nher Sarah in private. But in public,\nin journals, in books, we call her Mrs.\nSiddons and shall, I think, always do so.\nIt has been the misfortune of num-\nbers of us of the 19th and 20th cen-\nturies to hear people in and other\npublic places spreading out their voices\nwith this name Sarah (meaning Ma-\ndame Bernhardt) and pronouncing it\nit with a long throaty a as in Saharra.\nBut did you ever like it ? I must con-\nfess I loathed it. Still, it became the\nfashion, and even well educated people\nlike Sir George Arthur, whose little\nvolume I have already praised in these\ncolumns, even he is for ever using the\nname Sarah—but I admit he utters it\nlightly, crisply.\nGlancing over his pages again today\nI was rather struck by a passage on\nthe last page. It speaks of her burial\nand 4S the tomb on which had been\ncarved the all-sufficing word Bern-\nhardt Well, it does not suffice Mr\nAgate who, in the course of five and\na quarter pages utters the name Sarah\nnine times. M. Berget voices it but once.\nAs is well known, actors and actresses\noften call one another by their Chris-\ntian names ; there is a reason for it:\nthey are always seeing each other,\nalways at work together ....and the\nTheatrical family is anyhow a family.\nBut for anyone outside to assume the\nprivilege is in rather bad taste.\n1 am a writer, but when 1 was pri-\nvileged to meet Mrs Humphrey Ward\nand John Oliver Hobbes I did no;\ncall them Humphrey or Johnnie. I think\n1 would quite as soon have attempted\nto call the author of 44 The Bondman\"\n44 Hall old boy\". And in private I\nspoke of them as 1 did to them. Again\nI recall seeing that good publisher Mr\nHeinemann day after day for eight or\nten months, but never once did I call\nout, 441 say, Willie \". I kept that for\nMr Clarkson, He alone may be, must\nbe, Willie.\nAnd so if her fellow actors Sarah-ed\nthe divine Bernhardt, and if her lovers,\nClairin, Sarcey, Berton, Rochfort and\na dozen or two more, were so privi-\nleged, being her professed and accepted\nlovers, to call her what they liked, surely\nthe case is quite another one with the\nlittle pages who carried her train—and\nthe ghost of the fringe of that train.\n1 had not even that honour, so Ma-\ndame Bernhardt she remains for me.\nAn actress who seems very often\nto have been called by her first name\nwas Sophie Arnould ; but then she was\nno tigress, nothing but the amiable was\nshe .... and 44 your Sophie will come\nand see you\" or 44 your Sophie is\nvery cross\" is what she was always\nwriting to everyone. It was always\n44 your Sophie Not so Rachel. Con-\nceive a letter from her beginning 44 Your\nRachel is in a fit of the blues today\nsomehow this tragic being had the power\nto make the name Rachel sound like\na monument every time it was uttered.\nThere was Clairon too ....who ever\ncalled her Hyppolite I'd like to know ;\nyet that was her first name. And the\ngreat Raucourt.... even Mr Agate would\nhardly be heard swinging her name\naround. Conceive him trying to show\nhow well he knew her and saying,44 Yes,\n- Marie - Antoinette - Josephe\ntook luncheon with me on the outskirts\nof Manchester in 1787. .. ah poor dear\nFransoi?e - Marie - Antoinette - Josephe,\nwhat an artist and oh oh oh !!! what a\nman she was But then Mr Agate\nwould assuredly have called her Joey.\nLa Guimard was, 1 believe, always La\nGuimard, never Marie or Madeleine by\nany one who well-met and hailed her.\nNo, it really seems to have been\nthe fate of Bernhardt to set the vulgar\nfashion in a vulgar epoch. Think of\nit: ....hundreds of hungry souls are\nwaiting to say 44— was divine tonight \"\nprovided they could call that someone\nby her Christian or Hebraic name.\nAnd so the name Sarah became a nut\nfor every monkey's mouth.\nAnd now the great performer has\nwritten a hit of a book which begins\n44 The Art of the Theatre is the most\ndifficult of all the arts, as I will show\".\nFull stop.\nShe then repeats what that char-\nming Signor Pelzet and a hundred\nothers have said. The whole thing is\na confusion and too often a little far-\ncical. She does not stop to think,\nand she hurries on without even ma-\nking a dash for a new notion or two.\nTo haye tried for a new idea or so\nwould have been something. Yet once\nshe has a new word ; she (or one of\nher editors) talks of a certain Annie\nDesclee who created 4' Frou-Frou '9;\n.... would this be the sister of Aimee\nDesclee ? .... if so this certainly is a bit\nof news and useful to the historian.\nBut all this will not prevent us from\nremembering that she was one of the\nfirst performers of her time, with gifts\nwhich she exercised as much, and quite\nas well, off the stage as on it, ....she was\nfor ever playing tragedy or comedy,\nand sometimes even her entourage was\nnot quite sure which was which. But\nof course Mr Agate was never deceived."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c042", "article_bluemountain": "bmtnaau_1925-04_01#c042", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 45, "image_fin": 45, "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=bmtnaau192504-01.2.14.2", "titre_corps": "AN INTRODUCTION TO DRAMATIC THEORY by Allardyce Nicoll", "titre_sommaire": "AN INTRODUCTION TO DRAMATIC THEORY 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": 45, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.45", "debut_caractere": 14, "fin_caractere_exclue": 2632, "texte": "AN INTRODUCTION TO DRA-\nMATIC THEORY hy Allardyce\nNicoll M. A. Harrap & Co. 5/-.\nA particularly well printed book of\n218 pages, the paper of which\nis good instead of cheap and nasty.\nWhy I speak of this first is that it is\ntime some other celebrated firms stop-\nped using paper horrible both to look\nat and to touch. A book reviewed re-\ncent iy in these pages has but 181 pages,\ncosts 7/6, and a badly made paper\nhas been used.\nThat is what we would call 44 disho-\nnest \" if living under a Fascist go-\nvernment ; but which here we will\nmerely call ungenerous of the publishers,\nwho might take a lesson from George\nHarrap & Co.\nDr Nicoll's essay is, it goes with-\nout saying, a serious good piece of\nwork; but I wonder if the author in-\nterprets aright the reasons why we laugh\nat comedy and why our pity is arou-\nsed by tragedy. We laugh, he says,\nbecause we are liberated by comedy\nfrom the ties and conventions of so-\nciety. If so, then everyone sees every\ncomic thing alike, and laughs the same\nlaugh at each, whereas this cannot\nsurely be the case.\nWhen speaking of Tragedy he takes\nOthello as an example of a figure we do\nnot sympathise with \" to the extent of\nfeeling pity \" for him. Well, I must\nsay that I do. And I fail to see what\nShakespeare was about, that he failed\nto touch the sense of pity in Mr Ni-\ncoll. But that he and the other dra-\nmatists have tempted Mr Nicoll to\nwrite a book of Theory on this so dif-\nficult subject, is not at all a triumph\neither for Tragedy or Comedy. We\ncan neither laugh at nor pity our au-\nthor : rather do we (without asking\nleave of delightful Miss Ashwell) pity\nourselves and others like ourselves, who\nare placed in the comic position of\nhaving to review so learned a book\nwithout a very long time to digest it pro-\nperly. Thus wre see that the comic some-\ntimes can call forth pity and not\nalone self-phy, though to pity anything\nwe must, alas, first have recognized\nourselves in that which we pity.\nYes, to write a book about Co-\nmedy and Tragedy is to write the hi-\nstory of the world ; can it be dene in\n218 pages ? would not 28 pages be\nenough ?... and is it not in 28 pages\nthat the fine poet does write his hi-\nstory of the world, and is not that the\nfull sum of all that can be said upon\nTragedy and Comedy?\nBut Mr Nicoll means Tragedy and\nComedy, as set forth in Tragedies and\nComedies for a stage. 7 hen 4 tis an\nimpossible subject. A book on one\nplay, one Tragedy or one Comedy,\nwould suffice to tax anyone but Aris-\ntotle, and Aristotle was, as A. B. W.\none day pointed out to G. B. S. at\nthe Garrick Club, only intended to\nbe read in manuscript by a few."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c043", "article_bluemountain": "bmtnaau_1925-04_01#c043", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 45, "image_fin": 45, "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=bmtnaau192504-01.2.14.3", "titre_corps": "SONS OF JACOB, a Play by J. Rainis", "titre_sommaire": "SONS OF JACOB, a Play by J. Rainis", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.45", "debut_caractere": 2634, "fin_caractere_exclue": 5481, "texte": "SONS OF JACOB, a Play by J.\nRainis. Translated by Grace Rhys.\nDent & Sons Ltd. 10/ 6 net.\nJ Rainis is a Latvian poet and play-\n• wright. Latvia is that part of Nor-\nthern Europe which lies between\nPrussia and Russia, Finland and Swe-\nden. It is washed by the Baltic Sea.\nThis play has been performed with\nsuccess in Riga, the Latvian capital,\nhas been translated into many Euro-\npean tongues, and now into English.\nIt is a powerful thing, and, well\nacted, could not fail to do good, which\nfrom our English point of view may\nseem to be its most useful purpose.\nIt is not a pleasant play ; the specta-\ncle of Levi and his brothers gashing\nyoung Joseph with thorns to relieve\nsome thirsty Hebraic feelings, is not a\ntragic spectacle; it is not comic either ; I\ndo not think I particularly like it. If\nwe must be lurid I prefer, for this our\nEnglish climate, the more ordinary stage\nspectacle of a young gentleman apolo-\ngizing to our east-end loafer for ha-\nving inadvertently made use of the\nword damn.\nThe play has something grand in\nits last two acts, but they seem to be\ntoo long. An unfortunate thing about\nthe principal role is that it needs two\nactors ; one for the first act, another\nfor the last. Joseph, and whoever acts\nhim, in Act I is to be 44 seventeen\nyears old \" ; in Acts 3, 4, and 5 he,\nand whoever acts him, is 44 about thirty\nyears old \". For two different men\nto have to perform the part would\nbe fatal. Yet suppose we ask a\nyoung actor of fifty-six to play the\npart, (no one younger than fifty-sixt or\nfifty-five, would be trusted with it\non the English stage), he will be\nable to get through the last three\nactst but he will not look the first\ntwo. If we are rash, and give the part\nto a younger man he will look the\nfirst two acts and do nothing more.\nYet an author, if he deal with this\nold tale, must show us Joseph young\nand Joseph old. I conclude that it is,\nfor this reason, one of those tales which\ndo not stand stage treatment.\nThe translator seems to have done\nher work amazingly well: for to tran-\nslate even a text book from Latvian\ninto English must be very difficult, and\nto translate a play must be almost\nimpossible.\nPersonally I have no taste in plays\nwhich have the slightest touch of pro-\npaganda in them ; and, while I may be\ngreatly mistaken, I take this to be a\npropaganda play.\nIt is a well-printed book, well bound,\nand a cheap five shillings' worth;\nand it will give pleasure to those who\ncannot comprehend the Bible. I am a\nreader of the Old Testament because\n1 find it thrilling, pictorial, musical, pro-\nfound and gay ; and above all REAL.\nSo real that, when any modern writer\nattempts to re-do a bit of it here, a\nbit there, he transforms it into something\nquite false.\nThat being what many people like,...\nfor the modern world loves flirting\nwith a masterpiece... I think they will\nenjoy this pla)."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c044", "article_bluemountain": "bmtnaau_1925-04_01#c044", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "92", "image_debut": 45, "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=bmtnaau192504-01.2.14.4", "titre_corps": "A PRIMER OF MODERN ART by Sheldon Cheney", "titre_sommaire": "A PRIMER OF MODERN ART by Sheldon Cheney", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.45", "debut_caractere": 5483, "fin_caractere_exclue": 6434, "texte": "A PRIMER OF MODERN ART\nhy Sheldon Cheney. Boni & Liverighi,\nNew York.\nWILL anyone burn a book or a\ncity because 298 of the virtues\nare not to be found therein? So long\nas two or even one of the best are\nthere, what matter the rest.\nIn Cheney's book are plenty of\nfaults, but he has given me one hun-\ndred and seventy five illustrations, mostly\nby the best of the best artists of the\nday or yesterday.\nI was reading Meier-Grafe's book\non Van Gogh, a book from which I'd\nhave cut away a hundred pages at the\nbeginning, reducing them to a few plain\nfacts readable in twenty pages so as to\nmake it one of the great 44 Lives \"\nof the age: and in the book I came\nacross Seurat's name, and, not knowing\nwhat Seurat's work was at all like, I\nfound an example in this Cheney book.\nAnd there are one hundred and se-\nventy four other designs for those who\nare not experts and who want to see\nwhat the names Gauguin, Matisse,\nCezanne, Brancusi or Picasso signify."}, {"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 903, "texte": "I ought to know what these names\nmean, but I don't: and one ought to\nknow how to spell these names, but one\ndoesn't always know how even to spell\nsimple words like Xylograph and Man-\ndolin.\nSo then surely nothing can ever be\nvery wrong with such a book if in it\nwe can find a true if a primary\nvalue, ie, a use for it. And Cheney's\nbook has a use, for me, and I do not\ndoubt that it has several uses for others.\nBesides this the author has included\nthe theatre in this book on 44 the re-\nnewed life in painting, sculpture and\narchitecture \" ; and while some of us\nstill think it too early for any such\nhonour of that kind, it is not possible\nfor us to be blind to the compliment.\nIn his Preface he disavows the inten-\ntion of posing as a big Idol of a critic,\nand suggests that his book is a little\nPrimer. I have enjoyed the primer,\nand I know I shall often refer to it\nwhen ever in doubt about a fact."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c045", "article_bluemountain": "bmtnaau_1925-04_01#c045", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "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=bmtnaau192504-01.2.14.5", "titre_corps": "A HISTORY OF THE THEATRE IN AMERICA by Arthur Hornblow", "titre_sommaire": "A HISTORY OF THE THEATRE IN AMERICA by Arthur Hornblow", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "debut_caractere": 905, "fin_caractere_exclue": 1797, "texte": "A HISTORY OF THE THEATRE\nIN AMERICA, hy Arthur Hornbldw.\n2 Vols. Lippincott & Co. $ /0.00\nTHE copy I have was not sent for\nreview, but I wish to make a\nbrief mention of the work because it\nis full of interest to the student of\nTheatrical History, and valuable. Many\nan excellent print or drawing is repro-\nduced of theatres, actors, managers,\ndancers.\nThere are omissions : — the va-\nluable testimony to the worth of the\nNew York Theatres in 1850-60 or\nthereabouts ; the author's note on Ir-\nving's visit; his experience of the\nTheatres of the Southern States,...\nthese things ought not to have been\nleft out. The view of so celebrated\na Theatre as the Old Bowery deserved\na full page plate, if not two, and a\nview of the interior surely exists.\nBut the book is just what is wanted,\nand it will be of assistence to anyone\nwho wishes later on to make a larger\nbook on this interesting subject."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c046", "article_bluemountain": "bmtnaau_1925-04_01#c046", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "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=bmtnaau192504-01.2.14.6", "titre_corps": "ELEONORA DUSE by Jeanne Bordeux", "titre_sommaire": "ELEONORA DUSE by Jeanne Bordeux", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "debut_caractere": 1799, "fin_caractere_exclue": 6173, "texte": "ELEONORA DUSE: The Story\nof her Life, by Jeanne Bordeux.\nHutchinson & Co. 2 //- net.\nIN her Preface the writer tells us that\nshe took three months 44 compiling\nand writing \" this story of the life of\nEleonora Duse; and considering how\nfew days can be squeezed into three\nmonths it will be admitted by every\nserious writer; that, to do anything at\nall in so short a time, is little short of\nmarvellous.\nThe other kind of writer ....the su-\nperficial thinker and the slipshod re-\ncorder.... will not agree with us. He\nwill say that he considers ninety days\nlong enough time to concoct any really\nchatty 44 Life \". And one had forgot-\nten, for the moment, that it is a really\nchatty book that is wanted today.\nMiss Bordeux, (who is neither Ita-\nlian nor French), evidently doesn't forget\nthis, yet goes bravely on; with the\nresult that, if she is not almost a failure\nhere and there, she does succeed in\ngetting it all done in time.\nWhile she wrote the book on Duse,\nshe says, she 44 absolutely lived and\nsuffered with her \" and her 44 vast\nadmiration \" became 44 a reverent love\nand she adds that 44 no one in the\nworld ever succeeded in knowing her\nas I did \". (She met her for the first\ntime in October 1922. Duse died\nApril 1924). Whilst Madame Duse's\nfriends all seem to have seen the\ngreat actress in different lights she\nalone appears to have seen her 44 in all\nthose lights merged into one \". Un-\nfortunately the light was low now and\nagain when she was reading up the\nfacts and so she reports too many of\nthem incorrectly. But what can you\nin three months.\nAnd some of the names are so\noddly spelt. Instead of the celebrated\nMenzel we have the unknown 44 Mer-\nzel \" twice on one page : famous Be-\nno zzo Gozzoli becomes ignoto 44 Be-\nnazzo Gozzolin \" ; Matilda Serao be-\ncomes 44 Matilde Sarao \" : Giulio be-\ncomes 44 Guilio \" and Tommaso Sal-\nvini becomes 44 Tomasso Salvini \".\nLuigi Rasi is 44 the greatest young\nactor in Italy \" in 1899. Well. Duse\nin 1906 44 gave a performance at\nDrury Lane for the celebration of El-\nlen Terry's Jubilee\". But did she?\nSee Ellen Terry's 4' Memoirs\". An\nincident about a 4 4 broken bridge \" on\npage 211 is an invention.\nOn the other hand the writer cor-\nrects a few serious errors of the uni-\nnitiated.\nTo the report being 44 repeated on\nall sides \" that 44 D'Annunzio has\nabandoned her '* she says that 44 only a\nperson who had not known Eleonora\nDuse could believe that that was true\"....\n44 Eleonora Duse's love for D'Annunzio\nwas a consuming passion; she was jealous\nto the point of depravity—making his\nlife insupportable \".... 44 No, Eleonora\nDuse was not a victim : if there was\na victim in the case it was Gabriele\nD'Annunzio, and she .... for years\nmade his life insupportable by her con-\ntinual unreasonable jealousy \".\n44 My vast admiration for Duse has\nbecome a reverent love \" she has said\nin her preface.\n44 II Fuoco the book in which\nthe poet has made Eleonora Duse\ncome to life (and to a most noble\nlife) she says was published against\nthe wish of Eleonora Duse, and adds\nthat the story was 44 too evident, too\nblatant, too unmanly \".\nShe does not feel that D'Annunzio\nfound the right words to express the\nactress when at their first meeting he\ncalled her 44 Grande Amatrice \" (writ-\nten 44 Grand Amatrice\" on another\npage) ; 44 how much more worthy of\nher it would have been to have said\n44 fervid animator \". I don't know\nwhat you feel about this, but is it per-\nmissible to improve on the great, even,\nif in doing so, one misses a point ?\nThe passage I like best in the book\nis that which refers to a Roman gent-\nleman, Conte Giuseppe Primoli. Asked\nto supply 44 information \" for this work\nhe replied, 44 Much as 1 should like\nto help you, of the intimate life of\nEleonora Duse I can tell you nothing\nas it was her great wish that what was\nprivate remain private \".\nI am a hardened journalist who has\nserved his ten years in Fleet Street\nand been around the world for ano-\nther twelve, but must confess that had\nI been employed to write this book on\nthe lady we all so well remember, and\nhad I received this reply from Conte\nPrimoli, I think I would have put\ndown my pen, stopped the work, and\nout of admiration for her, let alone\n44 reverent love \", I would have satis-\nfied her 64 greatest wish \" by not pub-\nlishing \"this chatty book.\nBut the argument of gold is power-\nful, and as paltry as it is powerful."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c047", "article_bluemountain": "bmtnaau_1925-04_01#c047", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "93", "image_debut": 46, "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=bmtnaau192504-01.2.14.7", "titre_corps": "SHAKESPEARE'S HAND IN THE PLAY OF SIR THOMAS MORE", "titre_sommaire": "SHAKESPEARE'S HAND IN THE PLAY OF SIR THOMAS MORE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "debut_caractere": 6175, "fin_caractere_exclue": 6848, "texte": "SHAKESPEARE'S HAND IN\nTHE PLAY OF SIR THOMAS\nMORE.\nPapers by Alfred W. Pollard, W.\nW. Greg, E. Maunde Thompson,\n/. Dover Wilson and R. W. Cham-\nbers. With the text of the III May\nDay scenes Edited by W. W. Greg.\nCambridge University Press. 10/- net.\nTHIS book is the second of a se-\nries entitled Shafcespeares Pro-\nblems which Professor A. W. Pollard\nand Mr J Dover Wilson are editing,\nand its object is to strengthen the evi-\ndence that Shakespeare wrote three\npages which form part of the play of\nSir Thomas More. Papers have been\ncontributed by Dr W. W. Greg, Sir\nE. Maunde Thompson aud Dr R. W.\nChambers, as well as by the editors.\nIt is absorbingly interesting, but I"}, {"page_pdf": 47, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 515, "texte": "do not find that the three Shakespea-\nrean pages are particularly brilliant,\n1 find nothing in them which convin-\nces me unmistakably of the presence\nof that spirit we call Shakespeare.\nI am not moved.\nThis test is of course no test, so\nwhat other test is wo th a tinker's tin.\nBut no Shakespearean Library can be\ncomplete without this volume; and,\nsince it is a volume charmingly prin-\nted and excellently bound in fine red\ncloth, its back will lighten up the book\nshelf and the contents a careful rea-\nder's mind."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c048", "article_bluemountain": "bmtnaau_1925-04_01#c048", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 47, "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=bmtnaau192504-01.2.14.8", "titre_corps": "THE CONTEMPORARY DRAMA OF RUSSIA by Prof. Leo Wiener", "titre_sommaire": "THE CONTEMPORARY DRAMA OF RUSSIA by Prof. Leo Wiener", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.47", "debut_caractere": 517, "fin_caractere_exclue": 5102, "texte": "THE CONTEMPORARY DRA-\nMA OF RUSSIA by Prof\\ Leo Wie-\nner. Little Brown & Co. Boston.\nU. S. A $2.50.\nTHERE is no history of the con-\ntemporary Russian Drama in exi-\nstence, either in Russia or abroad\".\nWith these two lines the book begins.\nAnd it is a book which I have read\nwith much pleasure, and a good deal\nof instruction.\nHarvard University is to be congra-\ntulated on having a scholar like Prof.\nWiener who troubles about the Drama\nand the Theatre ; ....for, when all has\nbeen said against Dramatics and Thea-\ntricals, they do help to make life a\nlittle happier for as many of us as\ncare to read, or visit a playhouse\nThe one obvious fault of the book\nI would skip over as quicky as pos-\nsible, for it is a very human fault.\nIts author exaggerates in attributing\ntoo much to German influence. The\ndevelopments of the Russian stage on\nsuper-realistic and symbolical principles\nhave, he says, turned out to be 44 pale\nthough bold imitations of ill-understood\nGerman fads; and the Moscow Art\nTheatre, the Kamerny, Evr&nov's Mo-\nnodrama, stripped of the claptrap of\nnovelty, are thus reduced to very mo-\ndest proportions n. This passage makes\nme wonder whether Dr Wiener has\never been to Russia and ever seen\nthese Theatres at work. As I read\non I greatly doubt it.\nHe admits having found 44 the Wi-\ndener Library at Harvard University\nand the Congressional Library at Wa-\nshington so useful that 44 it was pos-\nsible to reconstruct the chronological\nsequence of dramatic events This\nwould inspire confidence in every stu-\ndent were the book free of all opi-\nnions, were it a purely historical\nwork\nBut when he hazards everything in\na quite unnecessary attempt to belittle\nmany of the best theatre men so as\nto prove that it was the Germans who\nhad a receipt straight from a slot-ma-\nchine HOW to inspire Europe in\nTheatrical things, then I am obliged\nto withdraw all trust in that side of\nthe book.\nWhich leaves me all the happier to\nenjoy to the full the first class account\nof how the Russian Drama was born,\ndeveloped, and all about Gogol and\nPoushkin, Griboyedov, Oslrovski and\nthe other brilliant dramatists of that\nplace in the north, which can boast as\nmany stupid men as we in the south\ncan, and can boast of more who worry\na hundred times as much as the rest\nof us do\nWorry seems to be a great inspira-\ntion in Russia. A little problem which\nthe South settled some centuries ago\nwill travel up to Russia somehow in\nsome obstinate thick head, and there\nfreeze into an eternal existence which,\nafter all, is a bit of a bore. And in\nthis book we see all the old problems\nworrying these able men and freezing\nas they teaze.\nThere they remain like monuments\nin ice, happy in being an eternal per-\nplexity.\nNow and again the ice cracks, a\nthaw sets in; but all is well before\nlong; another writer comes and the vexa-\ntion triumphs anew; 44it shall triumph ..\nwe will never admit defeat ; no one\nshall surpass us in the art of being di-\nsturbed by nothing \". So they seem to\nsay.\nBut it was to do no more than say\nhow admirable this book is in parts\nthat I decided to touch upon it\nnow.\nLater I hope to be able to return to\nit, to enquire into a few puzzling pas-\nsages and some omissions ; to ask how\nit is possible for the good Professor to\nstate that Stanislawski nearly wrecked\nthe Moscow Theatre;—to state that\nsome of the best actors 44 could not\nbrook \" Stanislawski whose 44 autocratic\npower \" offended them. I do not like\nto believe that those good Russian\nactors were cry-babies, dissatisfied with\n41 the narrowness and onesidedness of\nthe repertory and the humiliation and\npressure exerted upon the freedom of\nthe development of the artistic perso-\nnality of the actors of the company' .\nThis quotation comes from the protest\nsent in by Meyerhold, ....Meyerhold\nwho today seems to be enjoying a\nlittle spell of autocratic power and wor-\nrying on and on and on.\nAnd I wonder why Professor Wiener\nmakes no mention of Reinhardt ? ...and\nsays not a word of Wyspiansky, and\nwhy he omits all mention of the Ita-\nlians who went north and taught so\nmuch there.\nAnyhow, it is a bright book, and\nif Wiener must have his way about\nthe Germans, then let him ; ... but they\nmust then accept responsability for the\ncatastrophe of the Russian theatre of\ntoday which Dr Wiener has outlined\nso cleverly in the final chapter.\nThere we see the net result of try-\ning to influence according to clock-\nwork. The Soviet, he tells us, admits\nthat its Theatre has failed. The old\nItalian influence—that so natural one,\nhad it been properly absorbed, would\nnever have had such a wretched\nresult."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c049", "article_bluemountain": "bmtnaau_1925-04_01#c049", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 47, "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=bmtnaau192504-01.2.14.9", "titre_corps": "A MIDSUMMER-NIGHT'S DREAM by William Shakespeare", "titre_sommaire": "A MIDSUMMER-NIGHT'S DREAM by William Shakespeare", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.47", "debut_caractere": 5104, "fin_caractere_exclue": 6767, "texte": "A MIDSUMMER-NIGHT'S\nDREAM by William Shakespeare.\nCambridge University Press. 6/- net.\nWITH its one beautiful reproduc-\ntion by Mr Walker of the por-\ntrait of Elizabeth Vernon Countess of\nSouthhampton by goodness knows who,\nin quite the prettiest piece of serious\nbinding I have seen for some years,\nthis sample of the new Cambridge Edi-\ntion of the Works of Shakespeare\ncomes to us to prove what excellent\nwork can be done in England by prin-\nters, paper-makers, binders, editors and\npublishers, although the times are not\nall t at could be wished\nThe author of this play, recently\naccepted for production by the Ma-\nnagement of Drury Lane theatre, and\nput on there by the best \"producer\"\nLondon can afford, is a man of un-\ndoubted dramatic and poetic poten-\ntialities.\nUnfortunately his poetic muse is at\ntimes too powerful, or shall I say, too\npersuasive, and beguiles our author into\nrather too many vagaries : he wiil often\nleave the dramatic muse standing too\nlong while he forces us to listen to\npassages of uncalled-for poetry, uncalled\nfor by the situation.\nHe describes places too .minutely'in\nthe text. We really do not want to\nhear so much about 14 the bank where\nthe wild thyme blows \" ; .... In fact I\nregret to find so many long and talka-\ntive, if poetical, speeches which are\nnot needed by the Drama.\nThe young dramatist is anyhow a\nman of talent, and in spite of the re-\nception given to his Drury Lane li-\nbretto by the London critics, I do\nsincerely believe that when he has rid\nhimself of the fault just mentioned he\nwill, in time, come to take his place\nwith the dramatic writers of the pe-\nriod, with Barrie, Pinero, Sutro and\nA. G. Haffer."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c050", "article_bluemountain": "bmtnaau_1925-04_01#c050", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 48, "image_fin": 48, "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=bmtnaau192504-01.2.14.10", "titre_corps": "THE ART Of THE THEATRE by Sarah Bernhardt", "titre_sommaire": "THE ART Of THE THEATRE by Sarah Bernhardt", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 5623, "texte": "THE ART Of THE THEATRE\nby Sarah Bernhardt. Geoffrey Bles.\nLondon. 7j 6.\nMR Agate has written a sympathe-\ntic preface to this volume of rub-\nbish, to quote Madame Bernhardt's\nown word for the book, ...,441e fatras\"\nshe called it: and M. Marcel Berger,\nwho, aided by M. Georges Ribemont-\nDessaignes had the difficult task of put-\nting the manuscript in shape for the\ngreat actress, has written a charming\nintroduction.\nBoth M. Berger and Mr Agate al-\nlude to Madame Bernhardt as Sarah.\nAnd I wonder why ? I ask myself\nwhether they called her Sarah to her\nface,... or perhaps it was Madame Sa-\nrah. I do not find Sarah is a parti-\ncularly happy name.... it reminds one\nforcibly of the jolly old charwomen.\nPerhaps this accounts for Mrs Sarah\nSiddons being known to all of us as\nMrs. Siddons, though doubtless the\nKemble family, and perhaps three or\nfour dearest friends, were' v/ont to call\nher Sarah in private. But in public,\nin journals, in books, we call her Mrs.\nSiddons and shall, I think, always do so.\nIt has been the misfortune of num-\nbers of us of the 19th and 20th cen-\nturies to hear people in and other\npublic places spreading out their voices\nwith this name Sarah (meaning Ma-\ndame Bernhardt) and pronouncing it\nit with a long throaty a as in Saharra.\nBut did you ever like it ? I must con-\nfess I loathed it. Still, it became the\nfashion, and even well educated people\nlike Sir George Arthur, whose little\nvolume I have already praised in these\ncolumns, even he is for ever using the\nname Sarah—but I admit he utters it\nlightly, crisply.\nGlancing over his pages again today\nI was rather struck by a passage on\nthe last page. It speaks of her burial\nand 4S the tomb on which had been\ncarved the all-sufficing word Bern-\nhardt Well, it does not suffice Mr\nAgate who, in the course of five and\na quarter pages utters the name Sarah\nnine times. M. Berget voices it but once.\nAs is well known, actors and actresses\noften call one another by their Chris-\ntian names ; there is a reason for it:\nthey are always seeing each other,\nalways at work together ....and the\nTheatrical family is anyhow a family.\nBut for anyone outside to assume the\nprivilege is in rather bad taste.\n1 am a writer, but when 1 was pri-\nvileged to meet Mrs Humphrey Ward\nand John Oliver Hobbes I did no;\ncall them Humphrey or Johnnie. I think\n1 would quite as soon have attempted\nto call the author of 44 The Bondman\"\n44 Hall old boy\". And in private I\nspoke of them as 1 did to them. Again\nI recall seeing that good publisher Mr\nHeinemann day after day for eight or\nten months, but never once did I call\nout, 441 say, Willie \". I kept that for\nMr Clarkson, He alone may be, must\nbe, Willie.\nAnd so if her fellow actors Sarah-ed\nthe divine Bernhardt, and if her lovers,\nClairin, Sarcey, Berton, Rochfort and\na dozen or two more, were so privi-\nleged, being her professed and accepted\nlovers, to call her what they liked, surely\nthe case is quite another one with the\nlittle pages who carried her train—and\nthe ghost of the fringe of that train.\n1 had not even that honour, so Ma-\ndame Bernhardt she remains for me.\nAn actress who seems very often\nto have been called by her first name\nwas Sophie Arnould ; but then she was\nno tigress, nothing but the amiable was\nshe .... and 44 your Sophie will come\nand see you\" or 44 your Sophie is\nvery cross\" is what she was always\nwriting to everyone. It was always\n44 your Sophie Not so Rachel. Con-\nceive a letter from her beginning 44 Your\nRachel is in a fit of the blues today\nsomehow this tragic being had the power\nto make the name Rachel sound like\na monument every time it was uttered.\nThere was Clairon too ....who ever\ncalled her Hyppolite I'd like to know ;\nyet that was her first name. And the\ngreat Raucourt.... even Mr Agate would\nhardly be heard swinging her name\naround. Conceive him trying to show\nhow well he knew her and saying,44 Yes,\n- Marie - Antoinette - Josephe\ntook luncheon with me on the outskirts\nof Manchester in 1787. .. ah poor dear\nFransoi?e - Marie - Antoinette - Josephe,\nwhat an artist and oh oh oh !!! what a\nman she was But then Mr Agate\nwould assuredly have called her Joey.\nLa Guimard was, 1 believe, always La\nGuimard, never Marie or Madeleine by\nany one who well-met and hailed her.\nNo, it really seems to have been\nthe fate of Bernhardt to set the vulgar\nfashion in a vulgar epoch. Think of\nit: ....hundreds of hungry souls are\nwaiting to say 44— was divine tonight \"\nprovided they could call that someone\nby her Christian or Hebraic name.\nAnd so the name Sarah became a nut\nfor every monkey's mouth.\nAnd now the great performer has\nwritten a hit of a book which begins\n44 The Art of the Theatre is the most\ndifficult of all the arts, as I will show\".\nFull stop.\nShe then repeats what that char-\nming Signor Pelzet and a hundred\nothers have said. The whole thing is\na confusion and too often a little far-\ncical. She does not stop to think,\nand she hurries on without even ma-\nking a dash for a new notion or two.\nTo haye tried for a new idea or so\nwould have been something. Yet once\nshe has a new word ; she (or one of\nher editors) talks of a certain Annie\nDesclee who created 4' Frou-Frou '9;\n.... would this be the sister of Aimee\nDesclee ? .... if so this certainly is a bit\nof news and useful to the historian.\nBut all this will not prevent us from\nremembering that she was one of the\nfirst performers of her time, with gifts\nwhich she exercised as much, and quite\nas well, off the stage as on it, ....she was\nfor ever playing tragedy or comedy,\nand sometimes even her entourage was\nnot quite sure which was which. But\nof course Mr Agate was never deceived."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c051", "article_bluemountain": "bmtnaau_1925-04_01#c051", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 48, "image_fin": 48, "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=bmtnaau192504-01.2.15", "titre_corps": "MAGAZINE REVIEW", "titre_sommaire": "MAGAZINE REVIEW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.48", "debut_caractere": 5625, "fin_caractere_exclue": 7167, "texte": "MAGAZINE REVIEW.\n\n44 Theatre Arts Monthly\" keeps\n1 up to its excellent standard and\nis quite the best American Theatre Ma-\ngazine we know of. We go to it to\nfind all about the Plays of Mr O' Neill\nand other American dramatists; the\nstage-management of a dozen good\nAmerican men ; the scenes and costume\ndesigns of Mr Geddes, Mr Jones and\nMr Herman Rosse and the rest; the\ndancing off Miss St Denis and her hus-\nband Mr Shawn; the acting of Mr\nArliss, of Miss Crews and others, and a.\nhundred other American people's doings\non their go-ahead American stages. Re-\ncently too there have been some histo-\nrical items, 17th, 18th and 19th cen-\ntury items: these are not quite so good\nand somehow do not seem to look\nright coming back to us from America.\nOne sees reason for any European\njournal informing us and America of\nan old French Theatre and showing\nus some of its rare designs, whereas\none would see no reason for a Euro-\npean journal which attempted to tell\nus about the building of the old Bo-\nwery or other American doings.\nThese historical things have to be\ndone on the spot and take a long time.\nSo when on page 164 of the March\nnumber we see a modern drawing\nlabelled \"Ferdinando Bibiena's Theatre\nin Torino \" we rub our eyes and then\nwe look it up over here. We find\nthat the drawing does not represent\nany Theatre hy Ferdinando Bibiena in\nTorino, and we find that this modern\ndrawing is derived, almost copied, from\nan 18th century engraving by C. An-\ntonio Buffagnotti of Bologna. Well, at\nany rate his name might have been given."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c052", "article_bluemountain": "bmtnaau_1925-04_01#c052", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 48, "image_fin": 48, "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=bmtnaau192504-01.2.15.1", "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": 48, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.48", "debut_caractere": 5643, "fin_caractere_exclue": 7167, "texte": "44 Theatre Arts Monthly\" keeps\n1 up to its excellent standard and\nis quite the best American Theatre Ma-\ngazine we know of. We go to it to\nfind all about the Plays of Mr O' Neill\nand other American dramatists; the\nstage-management of a dozen good\nAmerican men ; the scenes and costume\ndesigns of Mr Geddes, Mr Jones and\nMr Herman Rosse and the rest; the\ndancing off Miss St Denis and her hus-\nband Mr Shawn; the acting of Mr\nArliss, of Miss Crews and others, and a.\nhundred other American people's doings\non their go-ahead American stages. Re-\ncently too there have been some histo-\nrical items, 17th, 18th and 19th cen-\ntury items: these are not quite so good\nand somehow do not seem to look\nright coming back to us from America.\nOne sees reason for any European\njournal informing us and America of\nan old French Theatre and showing\nus some of its rare designs, whereas\none would see no reason for a Euro-\npean journal which attempted to tell\nus about the building of the old Bo-\nwery or other American doings.\nThese historical things have to be\ndone on the spot and take a long time.\nSo when on page 164 of the March\nnumber we see a modern drawing\nlabelled \"Ferdinando Bibiena's Theatre\nin Torino \" we rub our eyes and then\nwe look it up over here. We find\nthat the drawing does not represent\nany Theatre hy Ferdinando Bibiena in\nTorino, and we find that this modern\ndrawing is derived, almost copied, from\nan 18th century engraving by C. An-\ntonio Buffagnotti of Bologna. Well, at\nany rate his name might have been given."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c053", "article_bluemountain": "bmtnaau_1925-04_01#c053", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "96", "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=bmtnaau192504-01.2.16", "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": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 6511, "texte": "EDITORIAL NOTES.\n\nABOUT CONRAD AND HIS\nPAINSTAKING METHOD.\nIN November of last year we came\nacross this wretched nonsense in a\nserious London journal:\nThe waiter, after referring to the\n44 cult of collecting Conrad early edi-\ntions ** and to some 44 first annotated\nand revised editions\" at that time about\nto be offered for sale by Mr J. B. Pinker,\nfor twenty years Conrad's literary agent,\ngoes on : 44 There is a copy of 44 4AI-\n-44 mayer's Folly*, the story of an eastern\n44 river, which shows the critical spirit\n44 in which Conrad reviewed his work.\n44 Adjectives, redundant phrases, and\n44 whole passages were deleted, and here\n44 and there expressions changed in an\n44 attempt to achieve perfection.\n44 The corrected proofs of 4Nostromo\\\n44 another of the lots, similarly illustrate\n44 the pains he took with his work \".\nDo not our great newspapers also\ntake pains? does not the most ordi-\nnary journalist review his own Work\nand in a critical spirit does he not\ndelete whole passages, redundant phra-\nses, adjectives, and attempt to achieve\nperfection ? Of course he does.\nA journalist is as able a man and\nas much of an artist and as painsta-\nking as any great author.... often enough\nhe proves to be a great writer What\nobject then is served by this London\nJournal making so much of such an\nordinary every day affair? Why open\nthe eyes and gasp out that even the\ngreat Conrad took pains; for it makes\nsensible folk who read that London\nDaily ask themselves what the deuce\nit's all about; and it makes a half\nmillion fools fanep that writers as a\nrule take no pains, never correct, show\nno critical spirit, and never attempt\nto achieve perfection.\nThe writer of the paragraph made\nnothing interesting out of a very inte-\nresting theme : A sale at Sotheby's. All\nhe could do was to pretend to be stag-\ngered that an author should take pains.\n44 The Mask\" is not published for\nany reason but to support Theatre\nthings; but for all that it may now\nand again be excused for putting in a\nword for writers, painters, architects\nand other workers in the arts. Some-\ntimes neighbour can make it easier for\nneighbour than he can for himself.\nUnfortunately this is not always trou-\nbled about; the tendency being for\nactors to disregard writers, writers to\nbe indifferent to Theatre, painters to\navoid sculptors, and architects to be\nunaware that music does truly exist.\nSomething near the truth of it all is\nthat the art of being able to forget\noneself, to look out at things, is get-\nting rather more rare to us egoists than\nit always was.\n\nPASSING FIGURES,\nAS the year 1924 came to a close\nfive prominent figures in the world\nof the Theatre passed away. Puccini,\nFaur£, Bakst, William Archer and\nDe Max.... Two Composers, a Rus-\nsian scene painter, an English critic and\na Roumanian actor. All five were\ncelebrated enough, and we need not\nbe in any hurry to decide on the exact\nniche in the hall of Fame where chance\nwill place them. They now start\nlooking for it for themselves. Will\nthese two stars De Max and William\nArcher ever come so close together\nagain in the history of the world as\nthey do now and here ? And Puccini\nand Bakst, will these two names meet\nagain on the same page ? Perhaps some\nmay find them silly fellows one and\nall, when they come to think of them,\neven as we, when dead and gone, can\nbut become the fools of time. What\na trouble we put ourselves to, to\ncompose, act, write and paint, and\nhow we keep it up. What for? for\nour own pleasure ? we have very little.\nOr to make money ? and what's that ?\nor is it to give pleasure ? Well, we raise\nsome controversy and breed a little con-\ntention. And the very little which a good\nartist makes is at most a wisp of straw.\nStill many there are today who will\nmiss these five: with whom we would\nremember two others who were friends\nto our work, .... Sir Claud Phillips and\nC. Wilhelm : and we wish them all\npeace and long repose.\n\no ANNO DOMINI. o\nMR Arthur Roberts had a glorious\nJubilee lately and London did\nhim proud.\nThe only unkind cut he received\nwas from Mr James Agate who in the\n44 Sunday Times \" spoke of Mr Ro-\nberts *s songs as those which 44 enrap-\ntured our fathers \", thereby sugges-\nting (as Mr James Agate never fails\nto suggest) that he, Mr James Agate,\nis quite one of the young ones.\nMr Agate, we learn to our astonish-\nment, is nearly fifty, yet he takes\nhimself to be one of the latest. 44 From\ndim memories \"he writes in the same\nnotes on Roberts, 44 and according to\nprecise account, those eighties and\nnineties were delicious days \". As Mr\nAgate was born, according to 44 Who's\nWho in Literature \", in 1877, he has\nno excuse for not knowing something\nabout the nineties anyhow from some-\nthing more than 44 dim memory \"•\nAnd to think that we have never\nestimated Mr Agate as over twenty-seven\nor thirty at the most. That was why\nall his awkwardness seemed so entirely\ncharming. Now we feel a little diffe-\nrently about him. Still anyhow there\nis room in London for twenty or thirty\nsuch energetic critics, and what does\ntheir age matter at all, until London\nshall decide in about eighty years from\nnow that it really is time for its Thea-\ntre to wake up .. and then to get up\nand do something,\n\nAWAY FROM THE MACHINE.\nTHE Guardian the London jour-\nnal which gives us the Chuich\nnews, also gives us more than rarely\nmuch good reading about science and\nart and recently had an excellent article\nby Mr R. Ellis Roberts in its columns\non handprinting and woodcuts from\nwhich we take a small slice. Mr Ro-\nberts calls his article 44 Away from the\nPvlachine \".\n44 The god who came from the ma-\n\" chine never arrived at the critical\n44 moment of a play on the Greek\n44 stage, unless the machine was care-\n-44 fully managed by human hands. In\n44 a sense which some of us are in\n44 danger of forgetting, all machinery\n44 is dependent on men. When I write\n44 by the light of an electrically heated\n44 metal I may forget the great power\n44 station where men look after the\n44 machinery which provides the light,\n44 but 1 can scarcely forget that I have\n44 to turn on the switch. In the country,\n44 where, if you have electric light, you\n44 have to make it yourself, you are\n44 in no risk of forgetting that the ma-\n-44 chine is your servant, not your master.\n44 How easily, however, it becomes a\n44 spoiled servant—-and a spoiled servant\n44 will in time always mean a ruined\n44 master, even though much wealth\n44 may reveal his obsequiousness. The\n44 great difference between our day and\n44 our forefathers\" is that we have"}, {"page_pdf": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 6155, "texte": "44 machinery which it is so easy to\n44 spoil—in all senses of the word.\n44 After all, a plow, a cart, a wheel-\n-44 barrow are all machines: but they\n44 differ enormously from the threshing-\n-44 machine, the electric milker, or the\n44 motor-car. In the early machines\n44 that served mankind, you had instru-\n-44 ments in the use of which the effort\n44 of the men and the capacity of the\n44 machine were not too unequal. Slowly\n*• and gravely a man holds the plow\n44 down and ploughs a careful and\n44 laborious furrow ; he is using a ma-\n-44 chine, but he is working with his\n44 own energy. To-day a button is\n44 pressed, and a liner as large as a\n44 block of houses glides from the dock\n44 into the sea: or you put your foot\n44 on a small knob in a horseless car-\n-44 riage and the power of half a hundred\n44 horses grumbles and gathers itself to\n44 carry you over England. We are\n44 not yet, over here, the slaves of\n44 mechanical things; but one hears\n44 strange and dreary tales from Ame-\n-4 4 rica: how, under the pressure of\n44 big business and wasteful advertising,\n44 man spends his time in wanting to\n44 buy things, in order to keep other\n44 men working to sell things which\n44 neither seller nor buyer really needs ;\n44 and there is left time neither for\n44 leisure nor for life. There is room\n44 for 44 modern improvements \" : but\n44 they are a danger to all who cannot\n44 do without them. They are the\n44 modern manifestations of that Mam-\n-44 men whose service is declared to be\n44 incompatible with the service of God,\n44 of that wealth the possession of which\n44 makes it almost impossible to enter\n44 the kingdom of heaven. An enemy\n44 to God, the lover of the machine is\n44 necessarily an enemy to beauty : for\n44 the most mechanical thing in our\n44 world is fashion, and though fashion\n44 may sometimes stumble into the paths\n44 of beauty, the lover of fashion is\n44 always beauty's enemy, for she (or he)\n44 will desert loveliness as soon as love-\n-44 liness is 44 not the thing 44 and will\n44 often fail to recognise it when it is\n44 found in the ranks of the poor and\n44 the disregarded *\\ 0)\nAfter this the writer praises Mr\nGibbings's new works but recently\nissued from the Cockrell Press, and a\nwork by Mr James Guthrie of the\nPear Tree Press, and a few old friends\nsuch as the productions of Ricketts,\nCrawhall and Morris.\nHis 44 all machinery is dependent on\nman \" is assuredly a point—and one\nwe should be wise enough to remember\nin time if we are to get to anything\nwith all these machines.\nIn the Theatre they more than often\nget in the way of the men who would\nproduce something worth while.\nWe would like to read another article\nby Mr Ellis Roberts dealing with the\ndifference of the man who merely turns\na switch automatically and the other\nman who turns it to some purpose.\nElectric light is a lovely thing,—but\nwhen handled on the stage by a man\nwho is solely of a mechanical turn of\nmind,... that is where all the trouble\nbegins.\n(i) The Guardian. Dec. 12. 1924.\n\no ENGLISH o\nGEORGE Jean Nathan writing in\nan American publication about\nMr Galsworthy's 44 Old English \" pro-\nduced recently in New York says:\n44 The staging of the play by E.\n44 Lyall Swete, imported by Winthrop\n44 Ames from England for the purpose,\n44 is thoroughly up to what appears to\n44 be the present London standard, which\n44 is to say about one-fifth as good as\n44 that revealed in the average American\n44 semi-professional little Theatre.\n44 Of the theatres today the En-\n-44 glish is farthest behind the times in\n44 the matter of production and sta-\n-44 ging. Basil Dean, Lyall Swete and\n44 such are entrusted with England's\n44 honour while England exiles its own\n44 greatest stage genius, Gordon Craig,\n44 in far-off Italy\nIt is pleasant to observe that there\nis at least in America an English-speak-\ning critic who can speak and write\nEnglish better, if only because straighter,\nthan is customary in London.\nTo dislike the thing that Nathan\ndraws attention to should be the first\nduty of any Dramatic Critic who is\n(besides calling himself) English,\n\nA DRAWING BY OUIDA. (I)\nYours,\nAllen Carric.\nDear Sir :\nA drawing by Ouida seems to me\nto be something of a sensation,\nthough to judge from this drawing she\nmust have done several in her time.\nThe date on the drawing is 1890, the\nplace drawn \"Acciaiuoli\", supposedly\nan entrance to the big castle of the\nold Acciaiuoli owned today by Sir\nGeorge Sitwell.\nIt is drawn in burnt siena and black,\ndrawn in with rough brushes, and I came\nacross it in a bookseller's shop in Fi-\nrenze. Evidently no one had seen the\ntiny inscription 44 Ouida \" at the bottom\nof the big page (for it is a big drawing) ;\nand anyhow drawings by L'Amico di\nSandro are more highly prized than\nthose by L'Arnica dei Cani.\nAnyhow it was a valuable find and\nI think some day it should pass into\nour National collection in London;\nfor so valuable a piece (valuable for\nseveral reasons) should not be eating\nits head off in my collection.\n(1) A Note on the Frontispiece to\nthis number, reproduced by permission of\nMr Allen Carrie.\n\nUNIVERSITY & THEATRE.\nJ. S.\nMR Allardyce Nicoll hopes that the\nUniversity and the Theatre will\nsome day meet and work together.\nWe fear that Mr Nicoll and Fre-\nderick Nietzsche would not have quite\nagreed about that.\nWhat is final is that they have long\nago met and been of service to one\nanother; ....at least the Theatre has\nbeen useful to the University.\nWe hope to publish an article on\na famous College and its theatres in\nthe 16th and 17th centuries. Mean-\ntime we hear from Toronto ....from\nour Canada.... that what London is\ntalking of doing has been done there.\nThe University of Toronto has its own\nTheatre which will hold five hundred\npersons. It is not a makeshift, it is\nthe real thing, managed by a group of\nserious men with a director and a per-\nmanent staff.\nSince 1921 these have been free to\nmanage as they wish, and are only\nresponsable to the Governors of the\nUniversity.\nThe Theatre has existed since 1919.\nit was specially built. Modern ideas\nprevail. Eight to ten new plays are\nstaged each season.\nWe wish the workers the best of luck,\nwhich can but follow good discipline."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c055", "article_bluemountain": "bmtnaau_1925-04_01#c055", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 49, "image_fin": 49, "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=bmtnaau192504-01.2.16.2", "titre_corps": "ABOUT CONRAD AND HIS PAINSTAKING METHOD", "titre_sommaire": "ABOUT CONRAD AND HIS PAINSTAKING METHOD", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "debut_caractere": 18, "fin_caractere_exclue": 2541, "texte": "ABOUT CONRAD AND HIS\nPAINSTAKING METHOD.\nIN November of last year we came\nacross this wretched nonsense in a\nserious London journal:\nThe waiter, after referring to the\n44 cult of collecting Conrad early edi-\ntions ** and to some 44 first annotated\nand revised editions\" at that time about\nto be offered for sale by Mr J. B. Pinker,\nfor twenty years Conrad's literary agent,\ngoes on : 44 There is a copy of 44 4AI-\n-44 mayer's Folly*, the story of an eastern\n44 river, which shows the critical spirit\n44 in which Conrad reviewed his work.\n44 Adjectives, redundant phrases, and\n44 whole passages were deleted, and here\n44 and there expressions changed in an\n44 attempt to achieve perfection.\n44 The corrected proofs of 4Nostromo\\\n44 another of the lots, similarly illustrate\n44 the pains he took with his work \".\nDo not our great newspapers also\ntake pains? does not the most ordi-\nnary journalist review his own Work\nand in a critical spirit does he not\ndelete whole passages, redundant phra-\nses, adjectives, and attempt to achieve\nperfection ? Of course he does.\nA journalist is as able a man and\nas much of an artist and as painsta-\nking as any great author.... often enough\nhe proves to be a great writer What\nobject then is served by this London\nJournal making so much of such an\nordinary every day affair? Why open\nthe eyes and gasp out that even the\ngreat Conrad took pains; for it makes\nsensible folk who read that London\nDaily ask themselves what the deuce\nit's all about; and it makes a half\nmillion fools fanep that writers as a\nrule take no pains, never correct, show\nno critical spirit, and never attempt\nto achieve perfection.\nThe writer of the paragraph made\nnothing interesting out of a very inte-\nresting theme : A sale at Sotheby's. All\nhe could do was to pretend to be stag-\ngered that an author should take pains.\n44 The Mask\" is not published for\nany reason but to support Theatre\nthings; but for all that it may now\nand again be excused for putting in a\nword for writers, painters, architects\nand other workers in the arts. Some-\ntimes neighbour can make it easier for\nneighbour than he can for himself.\nUnfortunately this is not always trou-\nbled about; the tendency being for\nactors to disregard writers, writers to\nbe indifferent to Theatre, painters to\navoid sculptors, and architects to be\nunaware that music does truly exist.\nSomething near the truth of it all is\nthat the art of being able to forget\noneself, to look out at things, is get-\nting rather more rare to us egoists than\nit always was."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c056", "article_bluemountain": "bmtnaau_1925-04_01#c056", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 49, "image_fin": 49, "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=bmtnaau192504-01.2.16.3", "titre_corps": "PASSING FIGURES", "titre_sommaire": "PASSING FIGURES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "debut_caractere": 2543, "fin_caractere_exclue": 3902, "texte": "PASSING FIGURES,\nAS the year 1924 came to a close\nfive prominent figures in the world\nof the Theatre passed away. Puccini,\nFaur£, Bakst, William Archer and\nDe Max.... Two Composers, a Rus-\nsian scene painter, an English critic and\na Roumanian actor. All five were\ncelebrated enough, and we need not\nbe in any hurry to decide on the exact\nniche in the hall of Fame where chance\nwill place them. They now start\nlooking for it for themselves. Will\nthese two stars De Max and William\nArcher ever come so close together\nagain in the history of the world as\nthey do now and here ? And Puccini\nand Bakst, will these two names meet\nagain on the same page ? Perhaps some\nmay find them silly fellows one and\nall, when they come to think of them,\neven as we, when dead and gone, can\nbut become the fools of time. What\na trouble we put ourselves to, to\ncompose, act, write and paint, and\nhow we keep it up. What for? for\nour own pleasure ? we have very little.\nOr to make money ? and what's that ?\nor is it to give pleasure ? Well, we raise\nsome controversy and breed a little con-\ntention. And the very little which a good\nartist makes is at most a wisp of straw.\nStill many there are today who will\nmiss these five: with whom we would\nremember two others who were friends\nto our work, .... Sir Claud Phillips and\nC. Wilhelm : and we wish them all\npeace and long repose."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c057", "article_bluemountain": "bmtnaau_1925-04_01#c057", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 49, "image_fin": 49, "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=bmtnaau192504-01.2.16.4", "titre_corps": "ANNO DOMINI", "titre_sommaire": "ANNO DOMINI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "debut_caractere": 3904, "fin_caractere_exclue": 5192, "texte": "o ANNO DOMINI. o\nMR Arthur Roberts had a glorious\nJubilee lately and London did\nhim proud.\nThe only unkind cut he received\nwas from Mr James Agate who in the\n44 Sunday Times \" spoke of Mr Ro-\nberts *s songs as those which 44 enrap-\ntured our fathers \", thereby sugges-\nting (as Mr James Agate never fails\nto suggest) that he, Mr James Agate,\nis quite one of the young ones.\nMr Agate, we learn to our astonish-\nment, is nearly fifty, yet he takes\nhimself to be one of the latest. 44 From\ndim memories \"he writes in the same\nnotes on Roberts, 44 and according to\nprecise account, those eighties and\nnineties were delicious days \". As Mr\nAgate was born, according to 44 Who's\nWho in Literature \", in 1877, he has\nno excuse for not knowing something\nabout the nineties anyhow from some-\nthing more than 44 dim memory \"•\nAnd to think that we have never\nestimated Mr Agate as over twenty-seven\nor thirty at the most. That was why\nall his awkwardness seemed so entirely\ncharming. Now we feel a little diffe-\nrently about him. Still anyhow there\nis room in London for twenty or thirty\nsuch energetic critics, and what does\ntheir age matter at all, until London\nshall decide in about eighty years from\nnow that it really is time for its Thea-\ntre to wake up .. and then to get up\nand do something,"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c058", "article_bluemountain": "bmtnaau_1925-04_01#c058", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "96", "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=bmtnaau192504-01.2.16.5", "titre_corps": "AWAY FROM THE MACHINE", "titre_sommaire": "AWAY FROM THE MACHINE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "debut_caractere": 5194, "fin_caractere_exclue": 6511, "texte": "AWAY FROM THE MACHINE.\nTHE Guardian the London jour-\nnal which gives us the Chuich\nnews, also gives us more than rarely\nmuch good reading about science and\nart and recently had an excellent article\nby Mr R. Ellis Roberts in its columns\non handprinting and woodcuts from\nwhich we take a small slice. Mr Ro-\nberts calls his article 44 Away from the\nPvlachine \".\n44 The god who came from the ma-\n\" chine never arrived at the critical\n44 moment of a play on the Greek\n44 stage, unless the machine was care-\n-44 fully managed by human hands. In\n44 a sense which some of us are in\n44 danger of forgetting, all machinery\n44 is dependent on men. When I write\n44 by the light of an electrically heated\n44 metal I may forget the great power\n44 station where men look after the\n44 machinery which provides the light,\n44 but 1 can scarcely forget that I have\n44 to turn on the switch. In the country,\n44 where, if you have electric light, you\n44 have to make it yourself, you are\n44 in no risk of forgetting that the ma-\n-44 chine is your servant, not your master.\n44 How easily, however, it becomes a\n44 spoiled servant—-and a spoiled servant\n44 will in time always mean a ruined\n44 master, even though much wealth\n44 may reveal his obsequiousness. The\n44 great difference between our day and\n44 our forefathers\" is that we have"}, {"page_pdf": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2995, "texte": "44 machinery which it is so easy to\n44 spoil—in all senses of the word.\n44 After all, a plow, a cart, a wheel-\n-44 barrow are all machines: but they\n44 differ enormously from the threshing-\n-44 machine, the electric milker, or the\n44 motor-car. In the early machines\n44 that served mankind, you had instru-\n-44 ments in the use of which the effort\n44 of the men and the capacity of the\n44 machine were not too unequal. Slowly\n*• and gravely a man holds the plow\n44 down and ploughs a careful and\n44 laborious furrow ; he is using a ma-\n-44 chine, but he is working with his\n44 own energy. To-day a button is\n44 pressed, and a liner as large as a\n44 block of houses glides from the dock\n44 into the sea: or you put your foot\n44 on a small knob in a horseless car-\n-44 riage and the power of half a hundred\n44 horses grumbles and gathers itself to\n44 carry you over England. We are\n44 not yet, over here, the slaves of\n44 mechanical things; but one hears\n44 strange and dreary tales from Ame-\n-4 4 rica: how, under the pressure of\n44 big business and wasteful advertising,\n44 man spends his time in wanting to\n44 buy things, in order to keep other\n44 men working to sell things which\n44 neither seller nor buyer really needs ;\n44 and there is left time neither for\n44 leisure nor for life. There is room\n44 for 44 modern improvements \" : but\n44 they are a danger to all who cannot\n44 do without them. They are the\n44 modern manifestations of that Mam-\n-44 men whose service is declared to be\n44 incompatible with the service of God,\n44 of that wealth the possession of which\n44 makes it almost impossible to enter\n44 the kingdom of heaven. An enemy\n44 to God, the lover of the machine is\n44 necessarily an enemy to beauty : for\n44 the most mechanical thing in our\n44 world is fashion, and though fashion\n44 may sometimes stumble into the paths\n44 of beauty, the lover of fashion is\n44 always beauty's enemy, for she (or he)\n44 will desert loveliness as soon as love-\n-44 liness is 44 not the thing 44 and will\n44 often fail to recognise it when it is\n44 found in the ranks of the poor and\n44 the disregarded *\\ 0)\nAfter this the writer praises Mr\nGibbings's new works but recently\nissued from the Cockrell Press, and a\nwork by Mr James Guthrie of the\nPear Tree Press, and a few old friends\nsuch as the productions of Ricketts,\nCrawhall and Morris.\nHis 44 all machinery is dependent on\nman \" is assuredly a point—and one\nwe should be wise enough to remember\nin time if we are to get to anything\nwith all these machines.\nIn the Theatre they more than often\nget in the way of the men who would\nproduce something worth while.\nWe would like to read another article\nby Mr Ellis Roberts dealing with the\ndifference of the man who merely turns\na switch automatically and the other\nman who turns it to some purpose.\nElectric light is a lovely thing,—but\nwhen handled on the stage by a man\nwho is solely of a mechanical turn of\nmind,... that is where all the trouble\nbegins.\n(i) The Guardian. Dec. 12. 1924."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c059", "article_bluemountain": "bmtnaau_1925-04_01#c059", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 50, "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=bmtnaau192504-01.2.16.6", "titre_corps": "ENGLISH", "titre_sommaire": "ENGLISH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "debut_caractere": 2997, "fin_caractere_exclue": 4059, "texte": "o ENGLISH o\nGEORGE Jean Nathan writing in\nan American publication about\nMr Galsworthy's 44 Old English \" pro-\nduced recently in New York says:\n44 The staging of the play by E.\n44 Lyall Swete, imported by Winthrop\n44 Ames from England for the purpose,\n44 is thoroughly up to what appears to\n44 be the present London standard, which\n44 is to say about one-fifth as good as\n44 that revealed in the average American\n44 semi-professional little Theatre.\n44 Of the theatres today the En-\n-44 glish is farthest behind the times in\n44 the matter of production and sta-\n-44 ging. Basil Dean, Lyall Swete and\n44 such are entrusted with England's\n44 honour while England exiles its own\n44 greatest stage genius, Gordon Craig,\n44 in far-off Italy\nIt is pleasant to observe that there\nis at least in America an English-speak-\ning critic who can speak and write\nEnglish better, if only because straighter,\nthan is customary in London.\nTo dislike the thing that Nathan\ndraws attention to should be the first\nduty of any Dramatic Critic who is\n(besides calling himself) English,"}]}, {"article_id": "bm-bmtnaau-1925-04-01-c060", "article_bluemountain": "bmtnaau_1925-04_01#c060", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 50, "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=bmtnaau192504-01.2.16.7", "titre_corps": "A DRAWING BY OUIDA. (I)", "titre_sommaire": "A DRAWING BY OUIDA. (I)", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "debut_caractere": 4061, "fin_caractere_exclue": 5057, "texte": "A DRAWING BY OUIDA. (I)\nYours,\nAllen Carric.\nDear Sir :\nA drawing by Ouida seems to me\nto be something of a sensation,\nthough to judge from this drawing she\nmust have done several in her time.\nThe date on the drawing is 1890, the\nplace drawn \"Acciaiuoli\", supposedly\nan entrance to the big castle of the\nold Acciaiuoli owned today by Sir\nGeorge Sitwell.\nIt is drawn in burnt siena and black,\ndrawn in with rough brushes, and I came\nacross it in a bookseller's shop in Fi-\nrenze. Evidently no one had seen the\ntiny inscription 44 Ouida \" at the bottom\nof the big page (for it is a big drawing) ;\nand anyhow drawings by L'Amico di\nSandro are more highly prized than\nthose by L'Arnica dei Cani.\nAnyhow it was a valuable find and\nI think some day it should pass into\nour National collection in London;\nfor so valuable a piece (valuable for\nseveral reasons) should not be eating\nits head off in my collection.\n(1) A Note on the Frontispiece to\nthis number, reproduced by permission of\nMr Allen Carrie."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c061", "article_bluemountain": "bmtnaau_1925-04_01#c061", "volume": "bmtnaau_1925-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 50, "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=bmtnaau192504-01.2.16.8", "titre_corps": "UNIVERSITY & THEATRE", "titre_sommaire": "UNIVERSITY & 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": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "debut_caractere": 5059, "fin_caractere_exclue": 6155, "texte": "UNIVERSITY & THEATRE.\nJ. S.\nMR Allardyce Nicoll hopes that the\nUniversity and the Theatre will\nsome day meet and work together.\nWe fear that Mr Nicoll and Fre-\nderick Nietzsche would not have quite\nagreed about that.\nWhat is final is that they have long\nago met and been of service to one\nanother; ....at least the Theatre has\nbeen useful to the University.\nWe hope to publish an article on\na famous College and its theatres in\nthe 16th and 17th centuries. Mean-\ntime we hear from Toronto ....from\nour Canada.... that what London is\ntalking of doing has been done there.\nThe University of Toronto has its own\nTheatre which will hold five hundred\npersons. It is not a makeshift, it is\nthe real thing, managed by a group of\nserious men with a director and a per-\nmanent staff.\nSince 1921 these have been free to\nmanage as they wish, and are only\nresponsable to the Governors of the\nUniversity.\nThe Theatre has existed since 1919.\nit was specially built. Modern ideas\nprevail. Eight to ten new plays are\nstaged each season.\nWe wish the workers the best of luck,\nwhich can but follow good discipline."}]}, {"article_id": "bm-bmtnaau-1925-04-01-c063", "article_bluemountain": "bmtnaau_1925-04_01#c063", "volume": "bmtnaau_1925-04_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": 1, "image_fin": 1, "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=bmtnaau192504-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.1", "debut_caractere": 0, "fin_caractere_exclue": 542, "texte": "GIORGIO & PIERO ALIN.ARI\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\n• i\n, *\nmm\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-1925-04-01-c064", "article_bluemountain": "bmtnaau_1925-04_01#c064", "volume": "bmtnaau_1925-04_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": 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=bmtnaau192504-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 487, "texte": "BEHIND the Mask is a per-\nsonality and a creed. In its\nown sphere, perhaps, something\nlike that may be fairly said of\nthe shopkeeping at Heals'.\nHeals' try to carry on the old\ntradition of fine English furni-\nture and yet to add and hand on\nsomething of their own ; to learn\nfrom the best of their time; to make\nexperiments—to be a good shop.\nHeal & Son\nTOTTENHAM COURT ROAD.WI.\nBedding, Bedstead, Upholsterp, and Furniture Makers.\nDealers in Carpets, China, Fabrics & Decorative things."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.1", "texte": "GIORGIO & PIERO ALIN.ARI\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\n• i\n, *\nmm\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": 2, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.2", "texte": "BEHIND the Mask is a per-\nsonality and a creed. In its\nown sphere, perhaps, something\nlike that may be fairly said of\nthe shopkeeping at Heals'.\nHeals' try to carry on the old\ntradition of fine English furni-\nture and yet to add and hand on\nsomething of their own ; to learn\nfrom the best of their time; to make\nexperiments—to be a good shop.\nHeal & Son\nTOTTENHAM COURT ROAD.WI.\nBedding, Bedstead, Upholsterp, and Furniture Makers.\nDealers in Carpets, China, Fabrics & Decorative things."}, {"page_pdf": 4, "page_imprimee": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.4", "texte": "FROM A DRAWING BY OUIDA.\nPlate 4.\n\nTHE MASK\n19 2 5"}, {"page_pdf": 5, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.5", "texte": "THE MASK\n1 1925\n\nUNIVERSITY AND STAGE.\n\nWHY should not there be cooperation twixt University\nand Stage ? We can see nothing and no one to prevent\nit except the over-obvious popular favourites of the English\nStage and the dreaming section of the University.\nMr Allardy ce Nicoll makes a wise plea for such a union in this\nnumber of \" The Mask \" and no one is going to pooh-pooh the sound\nnotion just because some of Mr Nicoll's statements do not tally with their\n\"no one's \" views. What matter the details, why bother whether\niTlschylus and Sophocles were produced by the audiences of the Thea-\ntres or vice versa: what matter if some of us think that we have already\nhad too much of \"a strong body of cultured opinion.... self-consciously\nasserting itself\". The main thing is that cooperation should be strong\nenough to unite the Universities with all the arts and sciences.\nSome will say (Captain Marryat assuredly would) that, like Equality,\ncooperation is an Ideal, is an illusion and has never existed except in\nbusiness. What of that. It's probably time for it to exist without more ado.\n\" Let the artist come into the University\" says Mr Nicoll. But\neven if he find the door and knock he may not hear the expected\nanswer \" Come in \"; or should he hear it and go in may find no life\nsuch as he has left where all is based on living and letting others live,\non courtesy and welcome to all people, all things—life itself."}, {"page_pdf": 6, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.6", "texte": "The world teaches a few ancient things—the things which count: the\nuniversities may have not forgotten these.\nWe ourselves have no knowledge of any Universities; but if men in\nthese places of learning are anything like those who have the control of\nthe Museums, National Libraries and Archives, we are satisfied thai\nthey can cooperate with any artist and that any artist could cooperate\nwith them.\nWe are not quite clear what Mr Nicoll means when he says thai\n4 4 the University in its own way has made the gesture of willingness tc\ncooperate \" and that 44 that gesture has not yet been sufficiently replied\nto Will he perhaps be more explicit later on.\nThe University of Yale provides its Dramatic section with a vast\nsum to work with at Yale; but we would like to see an artist and not\na professor in charge.\nWe like to learn that Mr Allardyce Nicoll is 44 engaged with some\ntwenty students in the preparation of an elaborate 4 Dictionary of the\nDrama *; but we do not like to think that the news was sent to 44 The\nMask\" and that it was lost in the post. But was the news sent tc\n44 The Mask \" ? The Editorial offices have received not so much as e\nwhisper about it.\nMum should not be the word if cooperation is to become a reality.\nAs for any hatred of the narrowing tendencies of University work\nthat is we hope an impossibility. The English Stage could with ad\nvantage undergo a good deal of that same 44 narrowing \" as Mr Nicol\nrather humourously calls it; and for theatrical people to hate it is al\nfiddlesticks.\nThere must be no sneering at the University by the Theatre.\nThere must be understanding.\nThis will the sooner come about if our Universities will refrain frorr\nhonouring none but the more obvious people in the Dramatic world.\nA University need not follow in the wake of the Court or the Pub!i<\nand, playing safe, do honour to only those stage favourites whom the whole\nworld has long ago dubbed as 4 popular favourites \\ and crowned wit!\nlaurels and enriched with gold.\nWe shall always suppose that a University is above anything like\nducking to the public, or appealing for its verdict.\nAnd in that supposition we welcome Mr NicolFs suggestions and\nhope to see them come to something worth while.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.7", "texte": "EDOARDO FERRAVILLA\nAN ESSAY ON A GREAT ACTOR\nTRANSLATED WITH A BIOGRAPHICAL NOTE BY D. NEVILE LEES.\nBY RENATO SIMONI\nTHE great comedian had been wasting away\nfor months. He could resist no longer. Every\ndtal force was languishing in him. One day in\nVlay the delusion came to him that he could\nnaster his exhausted body by the power of his\nivill. He longed to see once again the street,\nhat field of his observations, that great stage\nlpon which the public performed for him. He\nlad himself caVried downstairs and supported\nluring a brief escape from his melancholy infi-\nnity. He returned home more broken down than\n>efore. He entrenched himself in the derision\n>f bitter hilarity. He laughed at his malady,\nle mocked at death. It was a trifling but tragic\n>iece of arrogance. He desired to die as Fer-\navilla, with the innocent and bitter laugh of\nhe humourist on his aged mouth. The dying\nlan counterfeited himself. But in the meantime\nie was meditating in secret on matters of con-\ncience. He married his companion, conversed\nvith churchmen. And, from day to day, his\nfe was fading away in a quiet apathy. He\n/as done for. Death had but to pass by and\narry him off. And it took him without encoun-\naring any resistence.\nThe public had almost forgotten that Edoardo\n■erravilla was a dying man. The loud rumble\nf the war drowned this exhausted senile brea-\nking. And meantime there was fading away\nman for whom no substitute can be, ever will\ne, found: the generator of a kind of dramatic ob-\n\nBIOGRAPHICAL NOTE.\nEDOARDO Ferravilla was born at\nMilano in 1847, the son of a singer,\nMaria Luigia Ferravilla, and of the\n44 noble Filippo Villani\"; so that, if\non the one side he had in him some-\nthing of the aristocracy, on the other\nside he had something of the stage.\nThe mother died when he was six\nyears old, the father seems to have\nbeen careless of his existence. Giacomo\nViglezzi, an accountant, was appointed\nlegal guardian to the boy, and taking\nhim home, gave him that family life\nwhich he had lost with his mother's\ndeath, and which was remembered with\nprofound gratitude in later years.\nIn the simple Milanese household,\nwhere Giacomo Viglezzi lived with his\nfive sons, all accountants, the boy na-\nturally enough progressed rapidly .in\naccountancy, and also wrote so fine a\nhand that at thirteen he was already\nearning five lire a day .... no small sum\nin those days.... by copying statements\nof accounts.\nIt was not, however, all figures and\naccount books ; for one of the brothers,\nEnrico, was \" a delicate painter, a fine\ndilettante of dramatic art, an ardent\nlover of music and it was under his\ninfluence that young Ferravilla made in\nthese three arts those first attempts"}, {"page_pdf": 8, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.8", "texte": "which were later to influence his choice\nof a career.\nThe theatre soon became his ruling\npassion. Giacomo Viglezzi, who was\nadministrator of the old Teatro Ke(l)\nwas entitled to a box there. Young\nFerravilla and his friends went there,\ntwice a week, to applaud the best plays\nand performers of the day. \" Across\nthat stage \" writes the actor \" there\n\" passed all the best which the Italian\n44 theatre could boast, and I vividly\n\" recall the voice and gesture of supreme\n\" artists like Alamanno Morelli, la\n44 Cazzola, Gaspare Pieri and many\n\" others \".\nFerravilla says, like all actors have\nsaid, that he used to come away from\nthe performances with a frantic desire\nto return to them; and that in the im-\npatience of waiting he gave time to\nplaying with a marionnette theatre he\nfound in the garret of his guardian's\nhouse.\nWhile still an accountant, he began\nto act in 1867 with the societa Gus-\ntavo Modena (an amateur society).\nHis second appearance was in Paolo\nFerrari's play, \" La donna e lo scet-\ntico *' (the woman and the sceptic),\nwhen he was assured by the director\nof the filodramatic company, Ettore\nManzoni, that he was born to play\nlover parts. He was born to create\ncomic masterpieces, so it is quite ac-\ncording to the rules of theatrical pro-\nphecy that Signor Manzoni should have\ndiscerned nothing.\nSo he returned to the comic.\nHe began with the \" Ciocon de\ngrapa 0 by De Toma. In this part\nFerravilla \" gathered the elements which\nhe later succeeded in fusing into the\ntype of Tecoppa \" Tecoppa can be\nuniversal\" he writes ; \"his moral figure,\nhis character could find a place in ali\ncomedies; he is the man who fawns\nbefore the rich, is pompous with the\npoor; jovial and an enemy of work \".\nHere then was Ferravilla, at nine-\nteen, torn between the theatre and the\naccountant's stool, the struggle continuing\nfrom the spring of 1867 until 1870.\nHis old tutor Viglezzi was now dead,\nbut he still remained in the office with\nthe son, Enrico, and his salary had\nrisen to two hundred lire a month, in\nthose days eight pounds. He lodged\nwith Enrico in the house in via Prin-\ncipe Umberto N.° 5, and paid the\nenviably small sum of sixty lire a month\nfor food and lodging. \" Sometimes I\n\n(i) The Teatro Re, designed by Cano•\nnica, was opened December 18\nIt was destroyed about 1876 when the big\nGalleria was built. Its positions was near\nwhat is today the entrance to the Galleria\nin Piazza del Duomo.\n\nservation which has refreshed our whole theatre;\nthe most extraordinary and original creator of\ncharacters that the modern stage has possessed.\nNow all that he was is comprised in our\nmemory. Edoardo Ferravilla will really vanish\nonly when we who have seen him, heard him,\nshall have also passed away. But how shall\nwe be able to transmit the value and the colour\nof his art to the young who will overtake us\nlater in life? If, moved by that dominant in-\nstinct innate in all to conquer, to conserve, to\nperpetuate the possession of everything that most\npleases us, we seek to fix in our mind, not\nmerely the unforgettable traits of his acting,\nbut the sense of that which he himself was,\nwe perceive that we run the risk of recon-\nstructing a Ferravilla as remote from the true\nFerravilla as were and are his imitators.\nNever did the theatre attain to such reality\nby means of a greater finesse, a finer and more\nmeasured delicacy.\nThe power of expression possessed by Fer-\nravilla shrank from lineaments too definitely di-\nsplayed. The artist seemed always to avoid\nhighly emphasized gestures, figures wholly filled\nin and set in full light. He manifested a cau-\ntious parsimony even in the use of the word,\nwhich is yet the readiest, most expressive and\nmost expansive means of communion with the\naudience. He bit it off between his lips: hardly\nwas it launched with a vivid leap than he re-\ncalled and suffocated it; he extinguished it when\nit was most brilliant; he let it escape with a\nkind of hesitancy and indecision. His stage\nspeech was brief: he seemed uncertain, timid,\ndistrait. For him pauses were not silences\nbetween the words, but a word or so amid\nthe silences. His every little phrase had the\ninstinctive and plastic value of a gesture. In"}, {"page_pdf": 9, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.9", "texte": "speaking he was not concerned with the expres-\nsion of ideas or the relation of facts. He limited\nhimself to adding one touch the more to a cha-\nracter. He sought for this alone. His reper-\ntory was, au fond, a gallery of portraits: por-\ntraits not of persons but of human types. It\nwas owing to this that one perceived in them\nsome synthetic details which a careless observer\nmight mistake for a caricatured distortion; and\nwhich was, on the contrary, a search for essential\nverity, for stupendously distinctive signs.\nThese signs, so sober and so vivid, were\nthe more admirable in that the figures they\ndefined, and profoundly differentiated, were not\nalien one from another, but, in a certain sense,\nakin. The comic world of Edoardo Ferravilla\nwas no very vast one. It was a little world\nof mediocrity, mental and moral: that world\nwhich tends not to ascend but to stagnate;\ninclines not towards self-liberation but towards\nan ever closer self-imprisonment within the re-\nstricted environment of tradition and habit. It\nwas the world of the half-souls, characterised\nby the absense of every virtue rather than by\nany definite vices.\nThe actor represented and ridiculed the petty\nbourgeois society, mildewed but not yet decayed.\nHe seized upon it and reproduced it in all its\ninane effort to attune itself to the passing hour,\nin its laborious and ridiculous approach to the\nfresh spirit which the new life elaborated and\nis ever renewing. The Ferravillian personages\nare all sluggards who seek in vain to catch up\nwith the passing of time. Incapable of self-\nevolution, they imitate; and their profound ab-\nsurdity lies wholly in the disparity between what\nthey really are, and the semblances which they\nwould or must assume either through vanity or\nout of respect for human opinion. It is an infi-\n\ndid not pay them all .... but I have\npaid since he writes.\nFor two years Ferravilla's indecision\nas to a career continued, during which\ntime, having takefn a season ticket for\nthe small theatre of Santa Radegonda (2)\nhe was able to frequent that other\nworld which attracted him so strongly.\nAt this time the first idea of founding\na Milanese dialectic theatre was deriving\nencouragement from the success won by\nToselli's Piemontese company which\nhad visited Milano in 1859-60; and\ntowards 1872 a group of Milanese\ngathered together and mapped out the\nbasis of the repertory and the company.\nIn 1870 a home for this work was\nsecured by the purchase of the padi-\nglionc Cattanso, on Corso Vittorio Ema-\nnuele. The old pavilion was pulled\ndown, and the Teatro Milanese was\nbuilt by Carlo Righetti, better known\nin art by the anagrammatic name of\nCletto Arrighi, at a cost of \" not less\nthan eighty thousand lire #\\ Before\nthe theatre was ready to open, Righetti\nwas busy forming his company, offering\nthree or four lire a day to actors; and\nyoung Ferravilla determined to apply\nfor a place, only to find himself im-\nmediately designated as 44 il vero tipo\nd'amoros \", the true type of lover, a\ndistinction which made his 44 blood run\ncold \"# though he dare not dispute the\ndecree. An agreement was come to,\nby which Ferravilla was to be at his\nimpresario's disposal for rehearsals only,\nfrom one till three in the afternoon,\nso that he could continue his work in\nthe Viglezzi office. He could also\ncontinue to rehearse in the evenings\nwith his old friends of the Gustavo\nModena society, and to perform with\nthem on Sundays. In this interval pre-\nvious to the opening of the new theatre\nRighetti was to pay him lire 3.50 a day.\nIn October 1870, owing to the ill-\nness of another actor, he made an\nunexpected debut in a small part as\namoroso, and the next day had to\nlisten to a lecture fiom the excellent\nEnrico Viglezzi, who pointed out em-\nphatically that no one can follow two\ncallings. 44 If you want to stay here\n\" and do as I advise, you can be sure\n44 that in four or five years you will\n44 have a solid position and earn your\n44 three or four thousand a year. If\n44 you want to go and play the pagliaccio\n44 at the teatro Milanese, in fine pieces\n\" like that of last night, you are your\n44 own master. You may possibly die\n44 of hunger and will certainly make\n44 others laugh at you \".\nIt was that eternal voice of routine\n\n(*) Teatro Santa Radegonda was built\nin 1803; it no longer exists as a theatre."}, {"page_pdf": 10, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.10", "texte": "and too solid, too common sense free-\nzing when faced by the adventure of\nart. Ferravilla temporized for the mo-\nment ; but as was inevitable he left\nthe Viglezzi desk and stool and turned\nwholly to the stage.\nAmong his companions at the Teatro\nMilanese were Sbodio, Gandini, Crespi,\nMilanesi, Caraviti, Giraud, the actresses\nLuigia Prada, Trezzini, Vaghi, and two\nwho both bore the name of Giovanelli.\nIn October 1872 Ferra villa proved\nthat he had greater capacities than\nthose of merely reciting the words\nof others; for, having a very short\npart entrusted to him, he asked leave\nto add an extra scene of his own\ninventing, which obtained great success.\nIn doing this he was but carrying on\nthe best traditions of the European\nstage so clearly stated by Riccoboni\nand Gherardi (3).\nAfter this Ferravilla wrote 44 El sur\nPedrin in quarella \" in four acts which\nwas performed December 2nd 1872:\nRighetti oflered him three hundred lire\nfor the right to give the play for a year,\nand •• full houses \" at the Milanesi\nfollowed on without interruption. Again\nwe see what comes of following the\ntrue tradition.\nThe young actor was still, however,\nbeing cast for the lovers parts, till, in\na play called 44 Dal tecc alia cantina\nFerravilla created for himself the part\nof an old paralytic. Thus came into\nbeing the little old man which later on\nthe actor used in the Scena a sog-\ngetto musicale. 44 Between 1872 and\n1880 \" he writes, 44 all the types of\nmy repertory were bom. I found my-\nself perfectly in agreement with the\nauthors, who not only accorded me the\npart of the protagonist, but called on\nme to collaborate. I was free to mo-\ndify my personage, to caress it and\nstudy it until it seemed to me in per-\nfect equilibrium with my aptitudes \"•\nThe first idea of the celebrated Te-\ncoppa had come to him long before:\n44 Panera \" was another figure to be\ntested here and there, first in a vaude-\nville of his creator's, then in a French\nvaudeville adapted for the Milanese stage,\nin which 44 I recited a soggetto (4) all\nmy part and the whole of the second\nact In this piece, 44 El duel del\nsur Panera Signor Panera, 44 after\nhaving undergone for about a month\nthe retouches suggested in the act of\nrepresentation, took his final shape \"•\n.... Hear, you unbelievers, how it is\ndone. It is grown; it shapes slowly,\nnight by night.\nThe affairs of the company were by\n\n(3) see ,4 The Mask Vol. 111, No. 4.\n(4) Improvising o?i a given subject.\n\nnitesmal disparity, without any solemn reverbe-\nrations ; a disparity in which, at most, the five\nsenses squabble with the ten commandments.\nEdoardo Ferravilla elevated to perfect art\nthis somewhat inferior material, which was the\nmaterial of the most ancient theatre. His types\nare the traditional ones: the miser, the preten-\ntious fool, the fop, the glutton, the bore, the\nmuddler, the cuckold, the coward, the libertine.\nBut one no longer recognized them. They had\nbeen fused afresh in life itself. They had\nacquired a pliability, a simplicity, a lightness,\nwhich they formerly lacked. They no longer\nadvanced insolently to the footlights, massive,\nlimned and coloured in from head to foot. In\nthe miser it was not avarice in its most direct\nmanifestations that the artist portrayed for us,\nbut the complex distortions which this passion,\nwhen dominant, produces upon the minor pas-\nsions, the less aggressive instincts, which still,\nin their turn, seek their own gratification.\nIn the betrayed and complaisant husband he\nhas never given us the flat and ridiculous igno-\nminy of this complaisance; but rather the dull,\nsuspicious, fearful corrosion which it works in\nthe whole moral organism of the personage.\nIt was the coexistant foibles which he examined,\nso as to make us clearly comprehend what was\nthe principle foible.\nThe characters which he created were never\nstatic, but were continually developing before us.\nThey neither evolved nor achieved themselves.\nEach represented a phase, a transitory moment\nof its own vice. What the actor said not only\ndepicted but developed them. They betrayed,\nrather than confessed, themselves: rather than\nexposing themselves, they peeped out. They\nyielded themselves to being known solely because\nthey sought to hide themselves. It was the"}, {"page_pdf": 11, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.11", "texte": "clumsy timidity of their defects which revealed\nthem. Their broken and brief discourse hinted, it\ndid not consummate: it cut in, it did not carve out.\nThe stupendous originality of Edoardo Fer-\nravilla was manifested with equal brilliance alike\nin his choice of words, and in the elimination\nof such details as seemed to him too generic.\nIn this twofold task he always revealed a psy-\nchological intuition and a taste which were unsur-\npassed upon the stage. His great personality\nwas founded above all upon these principles,\nand upon them his true glory is established.\nIt is obvious that this man could not act\nas interpreter of any other than himself. He\nnever lent himself to pronounce words written\nby others. When he did not himself compose\nthe part he wished to represent, he entirely\nrenovated it; cancelled, from plays offered him\nby others, the part destined for himself, and,\nfor the authors's conception, substituted, not any\narrogant fantasy of his own, but the actions and\nreactions impelled by his own sensibility.\nIt was, in truth, a matter of actions and\nreactions. Ferravilla never created a type straight-\nway and on the spur of the moment. He\nlived it. He began to conceive it and to sketch\nit at the rehearsals; he sampled it, he weighed\nit, he listened to it. He always brought it on\nto the stage immature. His personages learned\nto speak little by little, from day to day, like\nchildren. Beginning by babbling, they lingered\naround some monosyllable until the true word,\nthe best, the most significant, the most direct,\nthe unique word, emerged, not from the lips,\nbut, one may rather say, from the consciousness\nof the actor, who was no longer merely the inter-\npreter of the personage, but who had actually\ntransformed himself into the real true personage.\nThat word never again changed. Years passed\n\nthis time flourishing, but its members\nware discontented, because the manager,\nRighetti, wasted the profits at the rou-\nlette table, and .salaries, low in any\ncase, were being irregularly paid. Fer-\nravilla contemplated making a change,\nbut first proposed to Righetti that he\nwould remain if paid seven lire a day\ninstead of five. Hear again how it\nis done, you unbelievers. But before\nyou can hear you will have to take\nthe wool out of your ears, and se-\ncondly prepare your nerves for this\nawful shock. Five shillings for a ma-\nsterpiece ! Can you face that ?\nAfter a definite refusal, followed by\nnegociations on the part of the ma-*\nnager's friends, Ferravilla was offered\nhis seven lire a day and the receipts\nof one evening a month, and the com-\npany want on as before. Remember\nthis was a superlatively talented actor,\nnot one of the kind who refuse £ 20\na week, £lO a week and wish to\nbe thought great actors.\nAbout this time a certain Signora\nPessina, separated from her hushand,\nbegan to frequent the theatre, and also\nto attest warm admiration for Ferra-\nvilla himself, which soon proved to be\nthe prelude to getting herself admitted\ninto the company, becoming known\nupon the stage as Emma Ivon. A beau-\ntiful woman, with gifts which won her\nfavour with the public, her friendship\nwith Ferravilla continued until her death\nin 1899. '\nMatters with the Righetti Company\nwere still unsatisfactory, and the prin-\ncipal players at last united together to\nconsider a change.\nIt was at this time that Signor Ta-\nlamoni, director of the first Milanese\nCompany, proposed constituting a Fer-\nravilla-Sbodio-Giraud company of which\nhe should be administrator. He was\nto provide scenery, properties and\nother necessaries, he and each of the\nheads should receive ten lire a day (5)\na piece, and Ferravilla was nominated\nartistic director.\nAll was agreed to and the new\ngroup began its performances at the\nTeatro Cressoni at Como in 1876.\nThe repertory consisted of some twenty\npieces; the enterprise flourished, and pro-\nmised brilliantly, when Talamoni died.\nThe company was, however, well\nestablished, and Ferravilla was invited\ntQ undertake the functions of admini-\nstrator as well as of capocomico (6)\nand artistic director.\nThe young manager, now about\n\n(5) You have caught the idea by now>\ndoubtless : the idea that money is not\nthe whole aim of the finer Italian actors.\n(6) Leading actor."}, {"page_pdf": 12, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.12", "texte": "twenty-nine, had his hands full with\nhis new responsabilities, being obliged,\nby contracts already signed, to tran-\nsport his company first from the teatro\nCommenda at Milano to Lodi, and\nthen for the first time to Napoli.\nThe company prospered; and each\nof the soci (shareholders or societaires)\ntook in every year between three and\nfour thousand lire as well as their sa-\nlaries and the proceeds of their special\n\"benefit\" evenings, Ferra villa in 1879\nwas unanimously accorded by his col-\nleagues twenty instead of ten lire a day.\nThus he, the manager and chief actor,\nwas paid about £ 3.0.0 a week.\nFor many years the company con-\ntinued to perform with uninterrupted\nenthusiasm and with little change in its\nprincipal component parts.\nAround the five principal players\nother and most capable actors were\ngathered, and a high standard conti-\nnuously sustained.\nIn 1880, says Ferravilla, \" all my\n\" comic types were definitively fixed,\n\" and only varied in the phrases with\nu which I presented them to the pub-\nM lie \". So we see that he is at\nwork on his types for thirteen years.\nFerravilla was by now a celebrated\npersonage. Honours began to come\nhis way. In 1888 he was presented\nto King Umberto at the Quirinal, when\nthe King smilingly shook hands with\nhim, and, after indicating his acquain-\ntance with the actor's interpretations,\nsummed up his praise in a genial\nfashion saying, \" After having heard\nM you, the Queen always returns from\n*• the theatre delighted with everything,\n•• and I am grateful to you\nBy the King he was created Ccm-\nmendatore, and came to enjoy the\naffectionate esteem of Giuseppe Verdi,\nG. Ricordi, (head of the great musical\npublishing house of Ricordi), Paolo\nMantegazzi, (who wrote an enthusiastic\neulogy of him as a \" great hygienist \",\ncuring men of the humours of gloom\nand many mortal ills by the sun-like\nsplendour of his art); and many more.\nHis own colleagues, also, presented him\nwith a declaration, recognizing the zea-\nlous and scrupulous way in which he\nhad filled his office both as capocomico\nand administrator.\nSo things went on until 1897.\nFor twenty-nine years Ferravilla had\nbeen the lessee of the Teatro Milanesi,\npaying an annual rent of eight thou-\nsand lire, (then £ 320). The receipts,\nowing to the capacity of the theatre,\ncould not, at ordinary prices, surpass\nnine hundred lire (£ 36) an evening,\nalthough on certain evenings, at higher\nprices, they reached the sum of thirteen\nhundred (£ 52). For an evening in\n\nand it remained. And it was so true and illu-\nminating that it never grew old. Repeated\nthousands of times, before the same audiences,\nit always remained fresh, with all its vivacity,\nall its exuberant power. From the stage it\ndescended into the auditorium. The crowd\ncarried it away, passed it on, spread it, incor-\nporated it into its patrimony of perfect and com-\nplete sayings. With how many phrases of speech\nhas Ferravilla not enriched our current speech ?\nThe famous \" ha detto male di Garibaldi \"\n(he has spoken ill of Garibaldi) would itself\nsuffice to render a playwright famous. The\n4' indelicate \" of Panera suffices to reveal in Fer-\nravilla a capacity to sum up a soul in a single\nword, a whole man in a few syllables.\nA cycle is closed for ever. Never again shall\n** we see those vivid figures at the footlights.\nHow many were there? A host. And among\nthem one loomed gigantic: Tecoppa. He was\nthe best beloved. So living was he that he\ncould not be restricted to one comedy.. Emer-\nging thence, he reappears in iriany others. He\nwas a precise, mathematical truth, and, at the\nsame time, he possessed the amplitude of a\nsymbol. He could participate in all events.\nHe embraced half a century. He had known\nRadestzki; and imprecated against areoplanes.\nHe was a living protest. He protested against\nproperty, against work, against the cararabineers,\nagainst the law. \"I propose ten months of impri-\nsonment for the said Felice Tecoppa\" thundered\nthe Public Minister. \" And Ido not accept! \"\nretorted the said Felice Tecoppa. He knew\nthe world and the pockets of the world. By\nprofession he was tradesman and benefactor. Be-\nnefactor because he disburdened his neighbours\nby lightening their pockets. As a youth he had"}, {"page_pdf": 13, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.13", "texte": "acted as a spy in the service of the imperial\npolice. He was acquainted with history\n\" Radestzki? he was good, poor little fellow.\nHe had one sole defect: when he was angry\nhe bombarded\". He considered human life\nsacred: \" Better be cowards for half an hour\nthan dead for the whole of life\". And he\nused to say 44 A soldier who runs away, is good\nto fight another day He detested subsidized\nfolk, the rogues, for example, who lead a jolly\nlife and whistle in their cages and do not let\nthemselves be caught. He had select relations\nwith the world beyond. Exorcist, he sum-\nmoned the dead to the telephone. 44 Drin,\ndrin! Am I speaking with Hell? Is Brambilla\nthere ? \" He desired the division of property.\n44 We are all brothers. You have ten lire ?\nHand them over. Five for me, five for you\nAnd blows on the sides and below the belt to\nthe reactionary who refused to solve the social\nproblem with his solitary ten francs.\nHe was mellifluous, obliging, the friend of\nwine, the friend of man. He walked somewhat\nbent, with his hands in his trousers pockets,\nrolling slightly, peasant-fashion, on his long legs;\nhis rapacious eyes cast down, gnawing the points\nof his moustaches ; snorting loudly, with a sini-\nster grimace, to clear an always stuff ed-up nostril.\nHe robbed with benignity. He did not threaten\nsave under stress of danger. He grew senti-\nmental on the subject of his great honesty.\nGood, unfortunate and poor! Infamous world 1\nAnd there are the shop windows of the jewel-\nlers overflowing with precious things! His phi-\nlanthropic heart suggested 44 smash the glass,\ncarry away what you can! How many poor\npeople you will be able to benefit! \" But two\ncarabineers appear! And they would be ca-\npable of thinking ill of his good intentions!\n\nFerravilla** honour in 1880 they even\nrose as high as fifteen hundred and\nseventy lire (£ 62.15.0). But Ferra-\nvilla was growing tired with the admi-\nnistrative work added to his work as\nan actor, and was seriously considering\nretiring, when an actor named Fran-\ncesco Grossi made him a proposal by\nwhich Grossi was to acquire the ownership\nof the company together with a certain\nsignor De Capitani, and the new orga-\nnization was to be known as the 44 Grossi\nand De Capitani Milanese Company\ndirected by Edoardo Ferravilla This\nproposal Ferravilla accepted.\nFurther changes were brought about\nby the death, first of the actress Co-\nmelli, and then in 1898 at Genova,\nof Emma Ivon. Of the severing of\nthis long association he writes: \" I\n\" found comfort for sorrow in my art.\n4 4 When I act I so merge myself in\n4 4 the personage that I could not betray\n44 myself even if I would. Every phy-\n-44 sical and moral suffering finds it most\n44 effectual remedy for the actor on the\n44 boards of the stage\nBut besides the personal sorrows\nwhich come to all, Ferravilla was beset\nby those annoyances reserved for all\ncelebrated and creative artists : that of\nthe imitators, who in his case persisted\nin presenting his well-known parts with\ntheir own names not very noticeably\nprinted in small type, 44 imitator of ** al-\nmost imperceptibly small, and 44 Edoardo\nFerravilla ** in letters so enormous that\nit left in the minds of the busy public\nthat it was Ferravilla himself they were\nto see. It was the same old monkey-\ntrick from which no art work or en-\nterprise is free today, and Ferravilla\nwas as powerless as the rest to protect\nhimself from this dishonest imposition.\nYoung actors will do well to study\nFerravilla's cwn u credo ** as set forth\nin his little book of Memoirs (7), and\nmeditate upon his experience regarding\ntruth, his 44 unconquerable repugnance\nfor dramatic works in verse \" (as alien\nfrom truth) ; his study of measure (ie,\nmoderation) in word, gesture and cos-\ntume ; his dislike for slap-stick busi-\nness or double entendres to raise laugh-\nter ; his careful observation; in short,\nthat aristocratic quality which he nev< r\nlost even when representing the very\nlowest social types : that immense sin-\ncerity, that unremitting search after\ntruth, that tireless effort after perfection\nby which he disciplined his natural\nexuberance and creative genius, and\nwhich rendered him so distinguished a\nsuccessor of the great comici delVarte\n(44 professional actors **) who were the\nglory of the Italian stage at an earlier day.\n\n(7) Societa Editrice Italian at Mi I a no."}, {"page_pdf": 14, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.14", "texte": "THE STAGE\nBY ERNEST RHYS.\nWHEN a man becomes a mime\nHe refashions space and time.\nWith his art, he brings his age\nTo an ell-length: that's the stage.\nIn that arm's breadth, all that is\nWas, and shall be, signifies.\nOboe and fiddle play,\nShepherds pipe the livelong day;\nAnd the dancers* rhythmic mirth\nSets a-whirl the clodden earth.\no o o\nIn a mirror, in no more\nThan a man sees thro* a door,\nThere it is, the little space,\nTheatral, the magic place,\nSo depictive, that the maid\nSees herself, and grows afraid,\nAnd the greenness, and cloud-shadow,\nOn the boards deceive the meadow;\nWhile the puppet wakes the dead\nWith the nid-nod of his head,\nAnd the lantern, Lord of Light,\nDrags Medusa out of night:\no o o\nWho can figure, who can tell\nAll that mime-bred miracle ?\nMortals? yes; but there they wage\nArt immortal. That's the stage.\n15 June 1924*\n\nWell, Tecoppa is dead. Down with Te-\ncoppa too, down with him into the same grave\nas that which opens for the long sleep of his\nanimator. Small sprouts will still burgeon ; but\nthe perfection, the rascally grace, the inexhaus-\ntible novelty, the fresh manifestation, the ever-\nrenewed surprise, of this type, which had become\na prototype, will fade away in ever paler re-\nflections, ever fainter echoes. A masterpiece\nhas perished ! And nothing could be done to\nsave it. And it is better that it should die rather\nthan that the restorers should present it to us\ncontaminated and botched.\nI wish that the figures which Ferravilla crea-\nted, which he fashioned into so many forms of\nbeauty, should disappear from the stage. Even\nthe most intelligent actor who should dare to\nrevive them would but falsify the memory of\nthe dead.\nHe could, at the very most, but reproduce\nfor us the exterior Ferravilla, the Ferravilla who,\nin the bare and simple dressing-room, between\na grenadine-syrop-and-seltz and a small pipe,\nbefore a tiny looking-glass, with a bit of pink\ncotton wool, a small brush, and a pot of mastic,\nobliterated, beneath a new face, his own shaven\nface. But that same make-up which, on the\nface of the noble artist, was the reflection of\na soul, became, upon another face, merely a\nglassy and waxen mask. How imitate that\nmysterious light which shone out from beneath\nthe earth-coloured and the reddish and bluish\npastes, the wigs, the whiskers, the moustaches;\na light bitter and ironic, the light of inspiration,\nsynthesis, creative power ? Oh infinitely various\nmasks of life! Shadows of truth!\nHere is the face, something 'twixt the irri-\ntable and the sceptic, of Pastizza, with a wrin-\nkled dryness, half English and half farmer."}, {"page_pdf": 15, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.15", "texte": "Here the perplexed and authoritative eyes, and\nthe calm and valiant nose projected above the\nsmile full of futile good sense, of the 4 4 Sposo\nper riderethe absurd husband. Here the\nincredulous and stupid myopy of the signor Pa-\nnera, beneath a sloping and wrinkled forehead;\nthe sharp and petulant condescension of signor\nPancrazio, framed in silky side-whiskers; the little\npointed, up-turned beard, Gascon and Pan-\ntalonic, of Gigione; the great nose of Massi-\nnelli, delighted by every whiff of fry or servant\ngirl; the dull senility of the old man of the\n44 Scena a soggetto\", extinguished in a calli-\ngraphic flourish of wrinkles between the loose\nmouth and the pendulous bow of the butterfly-\ntie; the thin lips and small brain of Petrino!\nHere, too, we have artist's whole person\nattuned to those faces, either as their cause or\ntheir consequence: There are imperceptible and\nprofound gestures ; disjointed and halting steps;\na curious and significant dislocation of the whole\nbody upon knees stiff as those of a cab-horse;\nand there is that stamping of quarrelsome feet,\nor that hesitation of cautious feet, or that tre-\nmulous weight of very heavy feet; and there\nare certain little shrugs of the shoulders, little\nshakes of the head : there is that tortuous and\nserpentine protrusion of the neck from out the\ngrandiose collar; there are certain exits from the\nstage, with back to the public, which were\nmasterpieces of comicality and expression ; there\nwas an eloquent winking of the eye, an irre-\nsistible fluttering of the lashes, and the vacuous\nwrinkling of the forehead ; and then the infinite\nnumber of ways of smiling of which Ferravilla\nwas capable, though 1 do not recall that the\nstage ever saw him laugh; there were the\ntwenty-and-one voices of which he was master;\nlight, sybillant, sharp, raucous, nasal, tremulous,\n\nSHOEMAKER, STICK\nTO YOUR LAST.\nA LETTER FROM\nGORDON CRAIG.\n\nMY dear Semar.\nJust a few lines about an important\nthing. In fact about Politics.\nYou do well always to avoid tou-\nching on Politics, for it is too difficult,\ntoo thickly veiled a subject for any but\na rare few outside Parliament and the\nEmbassies anything about, and\nit is not always easy for the politicians,\nand sometimes even tfie few statesmen\nseem though I believe that is\na bit of their Tun.\nIn refusing to allow \" The Mask \"\nto hold any opinion whatever on these\nthings, I take it that you do so from\nprinciple. That principle is 44 Shoe-\nmaker, stick to your last *\\ I have\noften heard you express the opinion\nheld by that large group of moderate\nmen who are not possessed by that\nlow vice curiosity, that there is no\nsounder rule in life than to mind your\nown business.\nYour business is the editing of the\ntechnical opinions, the theories, the\nfacts and fancies old and new about\nthe ancient and modern Theatre and\nyou do right to stick to that and avoid\ntouching on matters which are exci-\nting in quite another way.\nTo the reading public a journal can\nbecome a good friend or it can be\na nuisance. The public is fickle and\nis always searching for new sensa-\ntions.... for it is bored..., it has too\nlittle to d 0.... too little to really inte-\nrest it, and it is too self-indulgent to\ngo on with its own daily work.\nThis reading public is sometimes\napt to take itself a little too seriously\non the strength of being able to read,\nWhen it is able to read two lan-\nguages it takes itself even more se-\nriously ; when it can think a bit, it is\nalways indulging the habit of thought\nand thereby breeding convictions in\nitself: then it becomes a pretty bold\nthinker and 10, Sir Oracle is be-\nfore us !\nNewspapers are sometimes naughty\nthings, but I have grown to like them,\nfor I have come to look on them\nas works of art.\nWhen I see the paintings by Cima-\nbue of Heaven and the paintings by\nOrcagna of Hell I am looking at news-\npapers of the thirteenth and fourteenth\ncenturies.\nCimabue is called by the historians\nthe 44 forerunner of modern art #\\\nExactly : ....the forerunner of writers"}, {"page_pdf": 16, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.16", "texte": "on 44 The Observer \" and 44 The\nDaily Mail #\\ And what are his pain-\ntings of Heaven on the church walls but\nleading articles to guide and put hope\ninto the public of those days in those\ncities down south, and what Orca-\ngna's paintings of Hell but to put the\nfear of death into the hearts of sin-\nners ? And now in place of the walls\nof a church we have 44 Observer\n44 Mail *\\ 44 Times \", 44 Post \" and\nthe rest, all battling one with the other\nfor the souls of men. 44 This is the\nway they shout; 44 this is the true\npath : ....all else is confusion and folly.\nFollow us !\nWhy, you do it yourself, Semar.\nYou believe as all the other editors\nbelieve, as all the churches believe,\nand for your belief you seem ready\nto give up more than do most.\nBut what you give up at the outset\nis a little tit-bit seldom relinquished ;\nit is that you give up that privilege\nof the press to be free to say what it\nlikes (within reason) about matters it\nis ignorant of, yet, which, if uttered, can\nbut add a trouble more to the world.\nSome things there must be, of which\nan editor and the ablest of staff, the\nmost knowing of contributors, are igno-\nrant : and I have always held that\nPolitics are amongst those subjects made\nespecially to confound the wisest.\nSo I like to see you avoiding all\npolitics in 44 The Mask \", and I hope\nyou will always avoid them and con-\ntinue to give pleasure to more and\nmore people, who are happy to admit\nthat they too know nothing whatever\nabout politics.\nFor my part I know less than\nanyone about them. To me they seem\nto call to their service a few wise men\nand good men and a number of ener-\ngetic men; and when I read that\nLord Balfour has said this or that, I read\nit and pretend to understand and say\nnothing; or when I hear of Lord\nGrey having made a speech I always\nread it and pretend to understand and\nnod my head : and when 1 hear that\nLord Curzon has done this or that\nI pretend to be aroused to action.\nI then take a walk and feel fine*\nIt is as though I were at a play;\nlooking on, 1 hear a remarkable actor\nsaying wonderful things, and another\nmaking a gesture which thrills.\nTo attempt to tell myself what it\nall means,.* what are its final mea-\nnings.**. were not to enjoy the perfor-\nmance. Should an audience stop to\nthink at a performance of 4 Hamlet *\nit would never leave the building.\nFor no one knows what 4 Hamlet *\nmeans; he who thinks he does knows\nnothing. We are in a theatre for a\n\nvibrant ....who will ever again give us all this?\nAnd if, by some miracle, some one could do\nso, it will still never again be Ferravilla. There\nwill always be lacking that immense sincerity\nof his, that genial vigilance of his artistic con-\nscience, that flavour, that character; that style;\nall the significance, the secret, the marvel of\nhis personality.\nWith him ended a noble epoch and a hi-\nstory. The Milanese theatre was dead.\nThis was sad; but there was always Fer-\nravilla. The stage upon which his glory had\nbeen affirmed had been demolished by the\npickaxe. Goodbye, old little auditorium. But\nthere was always himself. His comrades had\npassed away : the actresses Giovanelli, Comelli,\nIvon; the thunderous Bazzaro; the audacious\nGiraud; the grumpy Dassi; Grossi; Carnaghi.\nWhat a cemetery ? Gaetano Sbodio was impri-\nsoned in his blindness. But there was still Fer-\nravilla, he who summarized in himself the va-\nnished men and things; he, upright and active,\nwith his fine clean-shaven aristocratic face ; with\nthe harmless caprices of a mild persecution mania;\nwith his extravagant and jesting irony, his di-\nscursive and disconnected conversation; he who\npresented himself and filled the theatre ; he who\nnever grew old, and who lived, half gay and\nhalf suspicious, in his eternally white waistcoat,\namong his pianos, his billiards, his pipes; sketch-\ning in water-colours, composing little marches\nand dances; generous and mean, modest and\nproud, irresolute and obstinate.\nBut, with his death, the ruin was complete.\nThere remained littered around in cupboards and\nchests-of-drawers, without sound and without to-\nmorrow, the picturesque and antiquated clothes\nwhich were a part, and not the least artistic part,\nof his interpretations. Glorious uniforms of a"}, {"page_pdf": 17, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.17", "texte": "sovereign of the stage, now they are relics, now\nthey are rags.\nFerravilla is dead.\nBut we cannot, we ought not to think of\nhim as cold, motionless and changed upon his\nbed.\nStanding between his past and his tomb,\nlet us turn to the past. We ought to associate\nthe idea of his departure with some vision of his\nart.\nHere is the little old man of the \" Scena\na soggetto musicale\". He has chatted, he has\nsung, he has evoked old romantic melodies on\nthe pianoforte. Now it is late and he is tired.\nHe rises with an effort from the armchair, takes\nhis candle, moves slowly, slowly forward to the\nfront of the stage, turns towards the audience,\nbows slightly, and says, with a small trembling\nvoice, \" Buona notte\". A head shakes, a little\nbow trembles, a light quivers in the feeble\nhand; and we seem still to see disappearing\nin the distance the light which illumines his\nway, the light which cast gleams of joy into\nour life.\n\nshort space of time, a few brief hours,\nand we are there to enjoy those brief\nhours or we are not true playgoers.\nAnd without- meaning to be in any\nway flippant, indeed meaning to be\nmost serious, I would say that we\nshould possibly enjoy the brief glimp-\nses any of us get of politics all the\nmore, if we would take it as we take\nthe play ....cease to fight about its\nmeanings and abstain altogether from\nwrangling about its readings.\nWhether the 2nd witch in 4 Mac-\nbeth ' should say 44 Cool it with a\nBaboon's blood \", or, 44 Cool it with a\nDragoon's blood \" is certainly not easy\nto decide.\nSo much hangs in the balance twixt\nBaboon and Dragoon.\nAnd besides is this 2nd witch ;\nor a misprint for 3rd witch ? Which\nwitch must always give us pause. There\nare three witches, namely Ist, 2nd\nand 3rd; but then there is Hecate\nthat makes four ; and there is a large\ngroup of super-witches, 44 Black spirits\nand grey, pink spirits and grein\nAnd besides, possibly the printer of\nthe first folio made even more errors\nthan he himself was aware he was\nmaking.\nWho knows ?\nCj Well, as there is always someone\nwho will be wise enough to be pleased\nif we take him to be a fool, so, let us,\nwhen at a theatre or before the poli-\ntical situations of the day and hour,\njoin his company and be content to\nknow no more than he.\nThere is a passage from this play of\n4 Macbeth ' which I find the wisest in\nall Shakespeare, and the most solemn\npassage I know in all literature (1).\nAnd here it is:\nAll three witches. Seek to know no more.\nMacbeth. I will be satisfied: deny me this,\nAnd an eternal curse fall on you I Let me\n\\know\\z\nWhy sinks that cauldro?i f and what noise\n[/> this f\nFirst witch. Show!\nSec. witch. Show !\nThird witch. Show!\nAll. Show his eyes, and grieve his heart;\nCome like shadows, so depart I\nYou are not thrilled, Semar ?\nWhy, as I write it out I turn cold\nand hot and, as the last word dies\naway I seem to see as it were a whole\nworld grieved to death by obstinately\nand cockily demanding to be satisfied\nabout all things.\nYours,\n(i) Act IV, Scene /.\n\nE. G. C."}, {"page_pdf": 18, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.18", "texte": "THE UNIVERSITIES AND THE DRAMA\nBY ALLARDYCE NICOLL.\nTO some readers of The Mask the title\nof this article may appear a trifle ridi-\nculous. I have often heard artists, drama-\ntists and actors sneering at the University,\nor else politely refraining from the expression\nof any definite opinion as to its worth. By\nmany the University is regarded as a hin-\ndrance to the development of a true artistry;\nit is condemned as a creator of memories\ninstead of talents ; it is regarded as a cram-\nming-house for students whose only aim is\nthe passing of examinations and the putting\nof B. A. after their names.\nAll this criticism is true; but is it the\nwhole truth, and nothing but the truth ? I may\nbe prejudiced, but I think it is not. The\nfundamental purpose of a University is not\nthe training of students for an examination,\nbut the disseminating of a genuine culture.\nThe aim of the professor should be, not the\npouring of facts into the heads of his students,\nbut the broadening and enlightening of their\nminds. In the midst of an essentially mate-\nrialistic age, the University ought to stand for\nidealism, for internationalism and for this richer\nculture which is the very flower of civili-\nsation.\nConsidered in this light, the future of the\ndrama is, partly at least, in the hands of the\nUniversities. The students who are being\nyearly turned out in their thousands will form\na portion of the audiences which go to swell\nthe theatres, and, because of their training,\ntheir influence will probably be greater than\nthat of similar non-university sections among\nthe spectators. The drama of every period\nand of every land depends ultimately upon\nthe audience. It was a great audience which\nproduced ./Eschylus and Sophocles; it was\na great audience which produced Shake-\nspeare. The ruder elements among the spec-\ntators (and, in speaking of ruder elements\nI am not by any means thinking of social\nclasses) assuredly always outnumber those of\nmore cultured and imaginative tendencies;\nbut that disparity is made up for by the\nfact that a strong body of cultured opi-\nnion, sure of its own purpose and self-con-\nsciously asserting itself, will ever have power\nover a heterogeneous body of unthinking, un-\ntrained and mentally licentious minds.\nTo help in the preparation of this intel-\nlectual and imaginative leaven among the\naudiences of the future I take to be the first\ngreat task of the University. Only during\nthe comparative leisure of their student days\ncan men and women find time to study and,\nfrom their study, to appreciate, the principles\nwhich underlie all permanent artistic advance\nin the world of the theatre. Only then can\nthey acquire that historic background from\nwhich is born the philosophic judgment and\nthe truly critical taste. Only then can they\nlearn what exactly the Greek stage stood for,\nfor what the mediaeval pageant, and for what\nthe Globe and the Fortune. Once given this\nhistorical background, they are ennabled in\nthe future to test by surer and more compe-\ntent standards any manifestations of new ar-\ntistry which the producer, the playwright or\nthe actor may have to bring to them.\nThe question may here be asked how\nthis consummation (most devoutly to be wish-\ned !) may be brought about. The answer\nis two-fold ; by the efforts of the Universities\nand by the efforts of the artists. The more\nthe artist sneers at the University, the more\nthe University will tend towards traditional\nand hidebound methods. Let the artist come\ninto the University, let him take his place in\nthe developing of that cultured side of aca-\ndemic work, which, after all, is its chief task.\nThe University itself, so far as my own expe-\nrience goes, is only too ready to co-operate.\nIn America special study has been devoted,\nnot merely to the drama, but to the problems\nof the producer, so that Professor Baker's\nname is now of more than national import.\nAt Manchester there is a lectureship in dra-\nmatic art; and at London there was esta-\nblished last year a new Diploma in Dramatic\nArt calculated to appeal to those who wished\nto devote their lives to the service of the\nstage. Small manifestations, perhaps, but none\nthe less symbolic of a change from the time\nwhen the Colleges dealt out only Latin and\nGreek with dry doses of traditionalized science.\nThese new manifestations, however, will not"}, {"page_pdf": 19, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.19", "texte": "lead to anything greater unless they are sup-\nported by those who have the cause of the\ntheatre at heart. The University in its own\nway has made the gesture of willingness to\ncooperate; that gesture has not yet been suf-\nficiently replied to.\nThere are, of course, many ways in which\nthe Universities may assist in the spreading\nof this cultural spirit. Students' dramatic so-\ncieties, if they are well managed and if they\nare accorded some patronage from within the\nwalls of the theatre, help in their own way\nto train the minds of those who participate\nin their activitios and to give the historic\nbackground. It is useless for students to keep\nringing the changes on Patience and Pinafore\nand modern farce; but where attempts are\nmade to perform hitherto unproduced works\nor to revive forgotten masterpieces of the past,\nthe service. done to the theatre may be inesti-\nmable. But again, these performances must\nreceive encouragement. It is all very well\nfor professionals to sneer at amateurs ; but it\nmust be remembered that the Abbey Theatre\nwas originally an amateur play-producing so-\nciety—nay, more, that the mediaeval theatre,\nitself, for many centuries, was upheld entirely\nby non-professional actors and by amateur\nplaywrights. The students' dramatic society,\ntherefore, might well receive encouragement\nand assistance, if necessary, from those whose\nprofession is connected with the drama in\nany of its multifarious forms.\nFinally, there is one thing which a Uni-\nversity may do, a thing unique and peculiar\nto itself; it may provide the materials upon\nwhich principles of the drama can be based.\nThose materials, in spite of the immense bulk\nof literary matter produced on Shakespeare\nand on Shakespeare's contemporaries, are fre-\nquently lacking for the student who goes out\nof the direct highway in the realm of the\ndrama. Not only have continental influences\nnot been fully traced, the very influence of\nearlier upon later English drama has not been\nmapped out. The bibliographical and stati-\nstical records have either to be sought for\nlaboriously by each individual student or else\ndone without, for even such compilations as\nGenest's Account of the English Stage are\nboth sketchy and inaccurate. One task of\nthe University, therefore, ought to be to ga-\nther together all the materials which may be\nuseful to the student of the drama or of the\ntheatre, classify that material and make it ge-\nnerally accessible. I myself am engaged with\nsome twenty students in the preparation of an\nelaborate Dictionary of the Drama; but this\nis only one of the many similar endeavours\nwhich might be undertaken by a University.\nThe University might well establish dramatic\nmuseums (such as already exist in America)\nwhere the development of theatrical art may\nbe studied through the models exhibited,\nwhere amateurs of the drama may be able to\nsee the Greek, the Mediaeval, the Rena-\nscence and the modern stages placed side by\nside, and so may be aided in securing both\nan historical survey of theatrical development\nand a philosophic judgment concerning the\nprinciples of setting and of playhouse structure.\nIt is fitting that I should make this ap-\npeal through the pages of The Mask, f°r in\nThe Mask I see that union of scholarship\nand artistry which may yield great fruit for\nthe theatre in the future. If the academic\nscholar remembers for a moment that the\ndrama is not a thing for dull dissection but a\nliving and vital organism; if the artist forgets\nfor a moment his hatred of the (for him) nar-\nrowing tendencies of University work ; a\nmove forward may be made towards a new\nappreciation both of what the theatre stands\nfor, and of what it may stand for in the\nfuture."}, {"page_pdf": 20, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.20", "texte": "THIS LITTLE THEATRE\nBY C. G. SMITH\n\nBAKST\nTHE great Bakst is dead: and the famous\nRussian Ballet loses the last hope of\nregaining an important lost element.\nWhen Diaghileff came to Paris and London\n\" The Mask \" was not able to find special\nreason for becoming extatic in praise of the\nBallet or its Bakst: but it could and did ap-\npreciate that all the hysterical praise voiced\nby Paris was becoming to Paris.\nIt was so natural for Parisians to recog-\nnize and respond to this product of the\nNear East, for it could also do something in\nthat line, so it could praise without becoming\nridiculous. Whereas for a Public which to-\nlerates, nay, appreciates, the London Theatre\nfare as does the London Public for twelve\nmonths a year, suddenly to pretend to have\nappreciated the famous Russian is not a little\nridiculous. It is another case of the Maud\nAllen, Beggars Opera, Chauve Souris fever,\nwhen the patient becomes inarticulate for a\nperiod, and all friends are anxious.\nHad the world never known greater dan-\ncers I could well understand a fine enthusiasm\nfor Pavlova, Karsavina, Nijinski and the others.\nThe twentieth century having seen the very\ngenius of Dance, it seemed to \" The Mask \"\nan exaggeration to confuse genius and talent.\nThat M. Diaghileff had genius as an im-\npresario, was the only genius in the group,\nmust be counted as at least fifty per cent\ntowards the success of this famous Ballet.\nHe had the superb knowledge of the refined\nmaster-showman. He knew so well how to\nsell that which the world thrills to buy. And\nexamples of this exotic thing he brought with\ninfinite care from a land which could produce\nsome of the most vivacious men and women\nin Europe. These he decked beautifully out\nin Parisian finery, and he calls on Bakst to\naid,... and Bakst did wonders. There was\nno one who could deck out dancers as he\ncould; there were few, if any, who could\ncontrive sceneries to match as he could. He\nwas a painter. I admit it: and I will also\nallow that painters of worth rarely leave their\nart to descend to the stage; but Bakst did\nso; and, descending to it, he took there such\nriches that the discerning public began to\nwonder whether the stage had not gone back\na century and a half to that great epoch\nwhich the elder Bibiena inaugurated at his\nbirth in 1657, and which Gonzaga closed\nin 1831, (dying at St. Petersburg, by the way).\nFor it is never to be forgotten that Bakst,\nas a scene painter, remained true to the old\ntradition. Supposedly a revelation,... some-\nthing quite new, he was really doing what\nhad been done before, and done superbly\nbefore; and now he came along and repeated\nit almost as superbly.\nHe was a scenic reformer of a stage\nwhich had grown feeble, and commonplace\nin the stupid sense of the word: he allied\nhimself with Benois, with Fokine and with\nthe musicians; the performers, the dancers,\nwere collected together, and all these remarka-\nble Russians united by their Russian leader\nDiaghileff, who was deteimined to make a\nvery real Russian effort.\nThis was in Moscow before anything had\nJ\nbeen heard of them. What happened? How\nwas this determination and this enthusiasm\nmet by their countrymen? Was it scouted?\nwere they derided,... or ignored perhaps ?\nOn the contrary. Russians were found who\nwere prepared to finance them to success\nRussian determination and talent found imme-\ndiate response from the gentlemen of Russia,\nand this in spite of the damning evidence that\nthey were all positively artists or experts.\nNo great dancer such as Isadora Duncan\nwas in their ranks: no first rate genius of any\nsort; but all of them were spirited, deter-\nmined, and very much aware of the high\nstandard that they were sworn to reach: all\nwere antagonists of the humdrum but highly\nrespected cosmopolitan ballet of their own land.\nThey were in fact rebels, but revolting to a\ngood end. Had they been English, had some\nlike spirit revealed itself in London, there\nwould have been no financial support even if\nthe spirit had revealed itself five or fifty years\nin advance of the Russians.\nSo it became Englishmen to praise these\nartists,... those Englishmen who preferred not\nto stand by their own men. It was essentially\na fine democracy, this group known as the Rus-\nsian Ballet; and so it was no surprise that as it\nwandered through Spain, France, England and\nelsewhere, it picked up new recruits. Unfortu-\nnately, when it added Picasso, Bakst seemed"}, {"page_pdf": 21, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.21", "texte": "to fall off. In fact as it added internationals\nof all kinds, the Russians broke away. So it\nceased to be the Russian Ballet, and indeed\ndeserves to be known by the simpler and\nprouder title of The Ballet.\nI do not recall the exact order of deser-\ntion and I do not know what sound reasons\nthe deserters offered for running away; but I\nseem to remember that the first to bolt was\nthe charming Madame Pavlova. Later\nNijinski skedaddled: then Bakst, Karsavina\nand others. The great impresario was left\nin the lurch. That was quite living down to\none of the traditions of the stage at its worst\nperiods.... tradizione traditore.\nThere are quite a number of wonderful\ndivisions and subdivisions in our Tradition.\nThe main division is simple: Good tradition,\nBad tradition: and 1 can but admit that to\ndesert a leader is one of the worst items in\nthe section Bad tradition.\nI regret that 1 cannot see any way of ac-\ncepting any reason which Madame Pavlova\nor Nijinski could possibly offer me for desert-\ning the flag raised by Diaghileff. Yet the\nsame old excuses doubtless were offered.\nIt is the Director's prerogative to engage\nwho he will, arrange what he will, manage\nhow he will. Once a performer or an artist\ntakes service under any Director whatever\nit is his and her duty to remain faithful to\nhim to the end. Even when he falls or\nfaints, as many a leader has been known to,\nthe followers must be staunch. All else is\nsecondary; and failing this sense of duty all\nmust fail. Followers must never question a\nleader they themselves have chosen to follow.\nThe Theatre would do well today to\nstudy a little its History. In Italy, in France,\nRussia, Germany and England the best efforts\nof great men of the Theatre have been ren-\ndered vain by the lack of discipline in their\nfollowers.\nI do not want to seem hard, but I have\nto say a very bitter thing, and it is only\nbitter because it is true. The first to desert\nhave usually been the leading ladies.\nI can find every excuse that you can, and\nI can cap these with two or three more which\nperhaps will not occur to you; but when\nevery excuse has been found I come back\nto my despest conviction regarding our little\nworld of the Theatre; which is that with the\nadhesion, the fidelity, of all to the director\nand leader, and with a real sense of disci-\npline, our Stage can achieve what a nation,\nan army, or a navy achieves in the day of\nperil. It can pluck undying victory and ever-\nlasting glory for its cause and its people.\nAnd until our European stage comes to\nknow this once and for all, it can achieve\nmerely petty victories, win only personal\nlaurels, and these are plucked and won yearly\nand fade with the years.\nI do not know how it was that Bakst\ncame to accept service under other banners\nthan Diaghileff's, but it was, and it remains,\na grievous pity that his work was ever seen\noutside the magic circle of the Russian\nBallet. I know nothing about this falling away\nand I am not curious to know. Neither do\nI know how the perfect Sicilian actress Signora\nMimi Aguglia came to separate herself from\nGiovanni Grasso. Why did Musco ever\ndream of leaving that genius? No one admires\nthe good Musco more than I do, but I do not\nadmire his retreat. I admire no retreats.\nAnd why do a hundred of the best desert\ntheir leaders every ten years? The most I\nmay say is this. These leaders make no call,\nremembering that the world is old and tired\nand that self-interest is a mighty passion : so\nat the last they come to say \" these people\nare not worth keeping.... let them go .\n\" Not worth keeping \" is not strictly true;\nit is but partially true. Looked at as one\nlooks at a coveted bicycle in a shop window\nit may be true\nI don't think I want it; besides I can get\nanother any where any day\nPerhaps the people are not actually worth\nkeeping; to have to tempt them to stay by\ncontinually raising their salaries.... to have to\nblow spirit into them.... fresh force and will\nto abide faithfully, proves them a little poor.\n\" But then \", asks one of them, \" why stay\nfaithful if not wanted?''\nAnd here we touch the top of the que-\nstion.... It is not I, or you, not Irving, not Dia-\nghileff, who wants anyone: —it is the Theatre\nand Duty wants them and these managers re-\npresent Theatre and Duty. And that is the\nfinal argument which none of us must deny.\nTo Bakst this did not occur.... how could\nit. He must have felt the pull of the Thea-\ntre; it is an attractive siren. Yes, assuredly\nhe felt attracted. Its call drew him gradually\nout of his studio.... away from his canvasses..."}, {"page_pdf": 22, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.22", "texte": "away from his art. He was a painter, won\nover to the Theatre.\nCompare him with Callot the French\nengraver. In Callot we have an example of\na man utterly enamoured of the stage and\nDrama and to the finger tips galantaomo.\nWith what courtesy does this immense\nlittle genius approach the benches at the back\nof the hail. One hears him saying \" Permit\nme \" they all make room for him. En-\nchanted, absorbed, he sits the entertainment\nthrough: when he leaves it is not to go and\nhob-nob with the performers and amuse the\nactresses with sketches for a new costume.\nWhen he leaves it is to record what he has\nseen, never to put on airs: he is too great an\noutsider. These little records of his are more\nfamous and more valuable than all the cos-\ntume designs by Berain, and do our European\nTheatre more honour than all the Dramatic\ncriticisms (in two volumes) by Bernard Shaw.\nAnd they set an example to others outside\nthe theatre how to come to look at the Theatre,\nand how to gallantly abstain from any closer\nintimacy unless you are one of the troupe....\nunless you belong to the tribe.\nI suppose it is quite as clear to many\nanother as it is to me, that one is not an\nEnglishman unless one be born of British\nparents: and in like manner one cannot be a\nTheatre man unless one is born of it.\nTo become naturalized, to adopt a country,\nis possible; but even then, unless with immense\ngrace and with unrelaxing attention to cere-\nmony, surely the performance is gawkish and\nrenders nil the result. To adopt a land and\nto once forget oneself, to speak of \" our\nland \".... no, 1 think that finds us out. And\nto leave the art of painting to which one is\nborn and which, except for its parent archi-\ntecture, is entirely self-contained and complete\nby itself, and to push one's way into some\nother art is not necessarily to play the amateur\nbut it is to forget an essential fact.\nAnd it is not quite good manners.\n1 will take Constantin Stanislawsky as an\nexample of what I mean. Here was a mer-\nchant cloth was I believe what he manu-\nfactured. One day he is attracted towards\nthe Theatre, then drawn into it; becomes an\namateur actor.... quietly passes through a door\ninto the professional playhouse; finally becomes\ndirector; reaches to the highest position; but\nnever for a day does he forget that, somehow\nor other, he is still a guest. So he passes here\nand there, carrying with him a grace, a certain\nmodesty, a way, which seems to say in every\ngesture, every phrase and every look, \" How\nhonoured I am, how happy I am, to be allowed\nto be one of you\nHis is an irrisistible charm.... and sun or\nrainy weather it is ever the same. 0)\nTo the painter Bakst no such grace had\ncome. And so he never rose to the position\nStanislawsky won to. He is not what theatre\npeople call \" one of us \" as Stanislawsky will\never be.\nAnd just as Stanislawsky felt as he did,\nand acted as he did, so does he, now that he\nis become one of the foremost leaders of our\nmodern Theatre, demand of his followers the\ngrace to serve and obey.\nWith what result? The tale is too sad to\ntell; but there are six chapters in it which are\nsuperb.\nAt the head of these chapters I would\naffix five names and there many be more.\nLILINA. KNIPPER. MOSQUIN.\nKATCHALOFF. SOULERGITZKY.\nand there are probably more chapters.\nThese are the names of two of his actresses,\ntwo of his actors, and one stage manager.\nThis fidelity of theirs is outstanding in the\nannals of the European Theatre.\nIt is this fidelity, this esprit de corps, this\nduty to the Stage, through discipline to the\nleader, that is needed in the whole European\nTheatre world if it is to advance.\nThe European Stage is advancing, but\ntoo slowly. Will the English ever come to\nrecognize this ? Why should such a great\nnation with so colossal a sense of loyalty, fail\nso in loyalty in the Theatre.\nI accuse an influential minority among our\nworkers of an inability to understand the word\nDuty and to endure. And I say that until every\none in the theatre's ranks will come to under-\nstand and to endure, the work, while it may be\ngood or bad, or indifferent as it is today, will\nsuffer, and the calling will become a paltry\none. It will remain the Little Theatre.\nLeon Bakst was one of the greatest figures\nin this Little Theatre.\nTo be continued.\n(1) Irving, not born of theatrical parents, cleaves im-\nmediately and once and for all to the theatre: and ran\nno business in tandem."}, {"page_pdf": 23, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.23", "texte": "HOW DOCTORS WERE\nSATIRIZED IN THE\nANCIENT THEATRE\nBY CESARE LEVI.\n\n\" r\\OCTOR, I have pain in the stomach,\nI / headache, and cramps in the legs.\nWhat is it?\" \"—Sir, it is ....twenty francs\nThe anecdote is old : it was attributed\nto one of the doctors taken as model by Mo-\nliere for his I'Amour medicin.\nIn every farce of the ancient theatre—\nfrom the Italian ones of the Arte (professional\ntheatre) to Moliere's Midecin lui—\nthere is a lazzo which consists in feigning to\nrefuse the money for the consultation: the\npretended doctor, whether he be called Ar-\nlecchino, Sganarelle or Crispino, while pro-\ntesting his disinterestedness to the foolish old\nman, father of the pretendedly sick girl (\" I\nhave not done it for gain, I will never ac-\ncept any money \"), holds out his hand, and,\nhaving received the money, asks, after having\ncounted the coins. \" are they good ones ?\nAlso in a Spanish intermezzo of the se-\nventeenth century, II dottore . Borrego, there\nis a reference to the venality of the doctors\n\" Bleed her, purge her and ....give the\nmoney \".\nThe satirizing of medical men is of an-\ncient origin and we find it as far back as\nthe Pluto of Aristophanes and in two works\nby Luciano.\nIn mediaeval times the doctor was con-\nfused for the most part with the fisico, the\nastrologer and the magician. In a French\nMystery of the XIII century, the Jeu\nou de la Fruillee by Adam de la Halle, a\nphysician heals of the \" disease of avarice \"\n(an illness which clinics have completely ne-\nglected !) But in general, in the Mysteries\nand the Moralities, medical men very rarely-\nappear upon the stage: for the most part\nit is the Saints and their reliquaries which\nare charged with miraculous healings: in\nthe aforesaid Jeu d'Adam a friar jingles the\nbell and displays the relics of Sant'Acario :\nto recover it suffices to touch them and give\na small sum; (not even then, it appears, were\nconsultations gratuitous !).\nIn the Mistero di S. Pantaleone of the\nfifteenth century there is a reference to what\nwas defined as invidia medicorum the\nworst medical envy : Eustore decides that his\nson Pantaleone shall be a doctor, and to that\nend takes him to Mastro Morin, a pagan,\nwhom he is to assist for seven years, earning\nthe sum of ....10 lire; (the assistants of to-\nday do ill to complain of their stipends!).\nPantaleone makes the acquaintance of the\npriest Ermolao, who converts him to Chri-\nstianity, and, \" without either medicine or\nherbs \", with merely the sign of the Cross,\nhe will be able to heal all the sick: but\n\"Mastro Morin, seeing that he heals a gouty\nman, is jealous of the success of his pupil,\ndenounces him to the Emperor as a Chri-\nstian, and has him decapitated.\nNot only in the theatre, however, were\nmedical men ridiculed. Who does not recall\nthe Doctor Tant pis, \" much-worse \", and\nthe Doctor Tant mieux, \" much-better \" of\nLa Fontaine's fable entitled \" Les Medicins \" ?\nBut the favourite place for jests against\nmedicine and its ministers was always the\ntheatre.\nThe actor Mondori improvises his pa-\nrades \" against the Chemists and the Medi-\ncal men \", and Guillot-Gorju, after having\nstudied medicine at Montpellier, sets out to\ntour the world with the strolling operators\nwho were, so to speak, the connecting link\nbetween the doctor and the actor; and finally\nenters the Hotel de Bourgogne, where he so\nwell produces the caricature of the doctors\nthat they themselves are forced to laugh at it.\nGuillot-Gorju wanted to prove in his Apo-\nlogia, that, in changing profession, he was\nnot taking a downward step: the one was as\ngood as the other: charletans both, one for-\nmerly a doctor could well play the buffoon.\nAfter eight years of the stage he returned to\npractising medicine at Melun.\nMoliere in his youth saw Guillot-Gorju\nat the Hotel de Bourgogne, and, in his farces,\nrevived the type of the medicin ridicule\nwhich was, as one would say today, a ' for-\ntunate ' type; but, developing it with greater\nsynthetic power, and setting it down with\npitiless exactitude, he succeeded in gathering\ntogether, in his later plays, all the defects,\nthe weaknesses, the vanities, of the medical\nmen of his time.\nAs for that, in all those farces which Mo-\nliere witnessed, from the French to those of\n(the Italian) comici dell'arte, jesting about\ndoctors was all the fashion : and I should be"}, {"page_pdf": 24, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.24", "texte": "tempted to transcribe the plot of some of\nthese were I not restrained by respect for\nthe most elementary decency : for which the\nancient actors had none too much respect.\nIt would be too long to analyse all the\ncomedies of the French theatre in which the\ndoctor is gaily bantered : from the farse of\nthe Femme mute (Dumb woman) of Rabe-\nlais, to Les Tromperies (The Deceptions) of\nLarivey, among the many precursers of Mo-\nliere who handled this subject, not on one\nsingle occasion is the doctor treated with any\nbenevolence. In the Clarice or Amour con-\nstant (constant Love), a medical man, \" a\ngreat donkey in his speech and doctor in La-\ntin 7, plays the gallant with a young woman\nwho has him beaten till he bleeds.\n\" Doctor yourself 1 \" says the Sganarelle\nof the \" Medicin malgre lui \", almost as\nthough it were a term of insult.\nAnd, to turn from the French theatre, one\ncan recall a satire on doctors in maccheronic\npoetry by an Italian Jesuit of the beginning\nof the seventeenth century, Bernardino Stefo-\nnio, intitled Maccaronis Forza.\nThe \" intermezzi \" of Cervantes are full\nof satires against doctors. In a comedy by\nLope de Vega, \" The Vapours, or The deli-\ncate Girl \", Belise, hearing that among the\nsuitors for her hand there is a medical man,\nexclaims, \" I marry a doctor! I sleep with\nthe fever! the very thought of it makes me\nshiver !\nAs, in the Commedia dell'arte, the Dot-\ntore and the Capitano, so in the old French\nfarce the medical man, was thus the type\neternally made fun of; was almost always the\nsynonym of pedantry and ignorance.\nThe wig was one of his characteristics ;\nand so also the beard, which, according to\nMoliere, \" is half the Physician \".\nThe dress, however, was of austere cut\nand always black: and towards the middle\nof the reign of Louis XIV the physicians\nabandoned the characteristic pointed cap in\nthe form of a candle-extinguisher, and adop-\nted the bourgeois dress, and, in winter, the\nmuff. The poorer among the physicians made\ntheir visits on foot, the others went their\nrounds on a mule.\nWhat was the cause of Moliere's ani-\nmosity against the physicians of his time?\nPrincipally his own illness, which embit-\ntered his existence, and brought him to\nthe grave amid indescribable sufferings, at only\nfifty-one years of age.\nMoliere, notwithstanding his robust aspect,\nwas always of delicate health. His life was\nshortened by the exertions of the stage and by\namorous abuses : \" you ought to abstain first\nfrom acting and then from the actress \" is\nthe advice given him by the author of the\nElomire hy ou Les Medecin\na satiric play directed against him, in which\nElomire is the anagram of Moliere.\nIncurably sick, he could not, therefore,\npardon the physicians their impotence.\nFrom his very first farces, today forgotten,\nMoliere jests about venal and charletan phy-\nsicians : in the le Docteur amoureux Geronte\nthreatens a woman : \"You will burst \" ; and\nshe : \" I am not among your patients \" ; a jest\nrepeated a few lines lower down : \"You make\nme forget my patients \", say Geronte, and the\nother replies : \" I am doing them a good turn \".\nAlso in Y Amour medecin Lisette expres-\nses the same faith in the disciples of Escu-\nlapius : \" what do you want with four doc-\ntors ? Is one not enough to kill a person ?\nI knew a man who proved, with good argu-\nments, that one ought never to say, such and\nsuch a person is dead of a fever and a flux\non the chest, but: he is dead of four doctors\nand two apothecaries \".\nSo far, however, there is no departure\nfrom the coarse joke, repeated in a hundred\nfarces, of the doctor who kills the sick man ;\nan eternal jest still in high favour on the\ncontemporary stage.\nIn the \" Dottor Borrego \" already refer-\nred to, the servant Lorenzo replies to the\nphysician: \"I know that thanks to you the\nprice of graves has gone up, and that in the\nmatter of graves you have worked some mar-\nvellous cures \". And, in another intermezzo\nof the seventeenth century, by one Bena-\nvente, (not to be confused with the author of\n\" Anima allegra \"); \" what must one do to\nprevent a physician from killing the patient ? \"\n—\" Not give him into his care \".\nBut so great a castigator of the vices and\nweaknesses of society as was Moliere could\nnot be content with such facile jesting: the\npupil of Gassendi, who in his every work\nattacked the dogmatic pedantry or the false\nscholars, he could not remain indifferent be-\nfore the charlatanism and ignorance of the\nmedical men of his time."}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.25", "texte": "VENETIAN MARIONNETTES.\nTwo of the figures of the Marionnette Theatre taken to her new home by\nLoredana Grimani on her marriage with Francesco Morisini, 1772, and now\nin the Museo Correr in Venice. One of the figures shows a costume of the stage\nDoctor at that period (see pp. 71-76).\nPlate 7.\n\nTHE MASK\n1925"}, {"page_pdf": 27, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.27", "texte": "One might however suppose that animo-\nsity against those who had not known how\nto cure him had led Moliere to unjust esti-\nmates of medicine and physicians: but it is\nnot so! Moliere's plays could be taken as a\ncompendium of the history of Medicine in\nthe seventeenth century: many farces, which,\nunder their bantering tone, might seem para-\ndoxical or ironic, are but the exact expres-\nsion of a fact which really occurred, or of a\nmode of thinking of the physicians of that\nday.\nThe exposition of the Galenic theories is\nset forth by the First Doctor of the Sieur de\nPourceaugnac in away which could not be\nbettered: the rigmaroles upon nature, the\ncauses and symptoms of the \" hypochondriac\nmelancholy \", seem copied, even in the ap-\npropriateness of the vocables, from a treatise\nof Riviere, one of the celebrities of the fa-\nculty of Montpellier, sworn enemy of blee-\ndings and partesan of purges and emetics.\nMoliere, with his \" humeurs peccants \", his\n\" vapeurs acres et corrompus \" the \" fuligi-\nnes, epaisses et crasses \" which rise, from the\nintestines, the mesentery, or the spleen, to-\nwards the noble regions of the brain and of\nthe heart, does but recopy the scientific ter-\nminology of his time.\nThus when, in the \" I'Amour medicin \",\nMoliere makes Doctor Bahis say that \"it is\nbetter to die according to the rules than to\nrecover against the rules \", he is not seeking\nan effective phrase to provoke laughter, but is\ntranscribing what one of the most celebrated\nphysicians of his time, Gui Patin, narrates in a\nletter; that is, that when a sick man reco-\nvered without having observed the prescrip-\ntions of the doctor, there were endless squab-\nbles at the Faculty.\nWhen Sganarelle, medecin malgre lui,\nsays that the heart is on the right and the\nliver on the left, and, to the opposition of\nGeronte, replies, \" Yes, it was so once, but\nwe have changed all that \", Moliere is re-\nferring to a case of inversion encountered\nin 1650 and recorded in the \"Gazette de\nFrance \".\nIn the \" Malade Immaginaire \" Diafoirus\nthe father praises his son for being \" blindly\nattached to the opinions of the ancients, and\nnever having wished to understand nor listen\nto the arguments and experiences of the pre-\ntended discoveries of the century on the cir-\nculation of the blood and other opinions out\nof the same sack\nIt was the time of jWilliam Harvey's great\ndiscovery regarding the circulation of the\nblood. The Faculty of Paris, traditionalistic\nto excess, opposed this as every other new\nidea.\nAlso in semiology they were much behind\nin the time of Moliere, doctors not examining\nthe sick person save very superficially. On the\nother hand the questioning was detailed to\nexcess ; Moliere as usual parodies it in the sce-\nne of Toinette in the \" Malade Imaginaire\nThe mania for basing oneself on the an-\ncient authors was likewise characteristic of the\nepoch: the authority of Hypocrites and Ga-\nlen was irrefutable. The characteristic trait\nof the doctors of Moliere is pedantry: the\ncomplicated and confused language of Sga-\nnarelle, the emphatic and bombastic talk of\nThomas Diafoirus, being copied with pre-\ncision : there is not a single dissertation which\nMoliere puts in the mouth of one of his per-\nsonages which is not conformable to the spirit\nand language used by the Faculty: it is a\ncontinual satire of the scholastic method and\na protest in favour of experience.\nAlso in the remedies used by the physi-\ncians of that time there was no great variety,\nas we are instructed by the ceremony in the\n\" malade immaginaire \" ; the three sole re-\nmedies for every kind of disease are (in the\nmaccheronic Latin used by Moliere) clyste-\nrium donare; postea seignare ; ensaita purgare.\nAs for the first cure, I ask pardon of my\nreaders if I am obliged to treat of an instru-\nment so inelegant and of such intimate na-\nture : but, speaking of Moliere, how could I\ndo less ? Not for nothing was such an ap-\npliance called, in the translation recently made\nof the \" Treatise of Clysters \" by Regnier de\nGraaf, published in 1668, \"L'instrument de\nMoliere \" ; and all will recall the procession\nof apothecaries, armed with their inseparable,\nand, let us say, professional, tool, in that ge-\nnial buffoonery, \" Le Sieur de Pourceaugnac\".\nPurges were in great honeur specially\nwith the faculty of Montpellier:\nThe abuse of such remedies was a cha-\nracteristic of the French medicine °f the\nSeventeenth century : in a single year there\nwere inflicted on Louis XIII by his doctor :\n215 doses of medicine; 212 clysters, and\n47 blood-lettngs. And Louis XIV in fifty-"}, {"page_pdf": 28, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.28", "texte": "nine years had to swallow down more than\ntwo thousand purges; (it must be, however,\nremembered that he was a formidable eater).\nSganarelle of the \" Medecin malgre lui \",\nwho orders bleeding even against future illnes-\nses, satirises very wittily one of the leading\n•medical men of that period. The lancet came\ninto action for every slightest indisposition :\nin 1633 Cousinot, first doctor to the king,\nwas bled sixty-four times in eight months, by\nthe order of his father and his father-in-law,\nfor articular rheumatism; then they began\nwith purges. \" The idiots that do not un-\nderstand our calling \", wrote Gui Patin,\n\" imagine that there is nothing else to do\nsave to purge, but they deceive themselves \":\nand he has no regard either for sex or for\nage. A medical man, Guy de la Brosse, re-\nfuses to be bled, and dies: listen to the fine\nfuneral epitaph which Gui Patin pronounces\non him: \"The devil will bleed him in the\nother world, as a rascal and athiest of his\nsort deserves\nBut, to dethrone the lancet, until then so-\nvereign ruler, a new cure sought an entrance\ninto the medical practice of that time; and\nthis was the antimonio discovered by an al-\nchemist friar of the fifteenth century, Basile\nValentin. It was a new Hundred Years War,\nfor, making its first appearance in 1566, it\nwas only in 1666 that the antimony cure re-\nceived its official consecration.\nThat which most favoured the fortune of\nantimony was the recovery of the King.\nLouis XIV fell ill during the Flanders cam-\npaign ; was transported to Calais ; a consul-\ntation is held by the doctors, who see all the\nsymptoms of typhoid. Naturally they are all\nagreed as to bleeding; but the King will\nhave none of it. Mazarin then sends in haste to\nCalais his own doctor, Guenaut, who admini-\nsters to the King the emetic wine, and the King\nrecovers. Guenaut immediately becomes cele-\nbrated, and antimony the fashionable remedy.\nGuenaut proved, however, less fortunate\nwith his patron Mazarin, so that there was\ncirculated about him this egigram: that, in\nsaving the life of Louis XIV and causing the\ndeath of Mazarin, antimony had twice saved\nFrance. And, as further proof of how much\nbeloved Mazarin was, it is related that a car-\nter, seeing Guenaut, said: \" Let Monsieur le\nDocieur pass: it is he who has done us the\nkindness of killing the Cardinal\".\nThe consultation, which took place at\nVincennes, at the bedside of the dying Ma-\nzarin, between the four Court doctors, Gue-\nnaut, Des Fougerais, Brayer and Valot, one\naffirming that the Cardinal's disease was in\nthe liver, another in the mesentery, the third\nin the spleen and the fourth in the lungs,\nseems to have served as model to Moliere for\nthe famous consultation scene of the\nMedecin.\nThe four doctors of Moliere's play, who\nare concerned with everything save with the\nsick man, and who, when they finally speak,\nare not agreed, are copied from the four doc-\ntors of Louis XIV. Guenard, who had the\ndefect of stammering, would seem to have\nbeen the Macroton of the YAmour Medecin.\nDes Fougerais was changed into Desfonan-\ndres, deriving that is, from the Greek, ' slayer\nof men '; Brayes was changed into Bahis,\nand Valot into Tomes, from the Greek \" ta-\ngliase, incidere \", that is, to let blood\nIt was Mazarin who rendered the doctors\nyet more venal by putting up for auction the\noffice of physician to the King : Valot paid\n30,000 scudi for the office.\nAfter the death of Henrietta, Queen of\nEngland, this sanguinary epigram was circu-\nlated about Valot: \" The daughter of the\ngreat Henry had, in dying, the same misfor-\ntune as her father and her husband. All\nthree died by the assassin's hand: Ravaillac,\nCromwell, medico; Henry by a bayonet\nthrust, Charles on the block; and now Hen-\nrietta dies of the ignorance of Valot \".\nThe Court doctors usually, through love\nof gain, ended by losing a little of their per-\nsonal dignity; they had to endure the sar-\ncasms and reproofs of the powerful whom\nthey served. The Diafoirus of Moliere's play,\nan unadulterated representative of the mode\nof thinking of the Faculty, prefers that his son\nshould not become Court doctor, because at\nleast, with the public, \" so long as one fol-\nlows the rules of the profession \", one never\nhas to answer for one's own actions; where-\nas \"that which is most annoying with the\npowerful is that, when they fall ill, they wish\nat all costs that the doctor should cure\nthem\nFilerin in the YAmour , who re-\nproves his colleagues for squabbling before\noutsiders, recalls to mind the continual quarrels\nwhich took place at the Faculty, between"}, {"page_pdf": 31, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.31", "texte": "physicians and surgeons, between doctors of\nParis and doctors of Montpellier, and bet-\nween the doctors of the Faculty itself.\nIn Filerin Moliere perhaps wished to re-\npresent his own medical attendant.\n\" Moliere, have you a physician? \" asked\nLouix XIV one day, \" and what use do you\nmake of him? \"\n\"We chat together: he orders me some\nremedies, I do not take them, and I re-\ncover \".\nMoliere's doctor, Armand Mauvillain,\nwas godson of Cardinal Richelieu. Of a re-\nbellious, irascible, impetuous character, he of-\nten had squabbles, with the Faculty: no\nsooner is he nominated doctor than he trans-\ngresses the express order \" to offend no one \",\nand has to apologize to the Faculty united in\nsolemn assembly, under pain of having his\ndegree cancelled.\nOn another occasion he is expelled from\nthe Faculty for having snatched, in full con-\nclave, the cap from the head of his enemy\nBlond el, when this latter was dean of the\nFaculty. And he got into yet greater trou-\nble for having signed, together with eleven\nother doctors, the approbation of a medica-\nment of a charletan of the public square, a\ncertain Hieromyno Ferranti of Orvieto, known\nas \" l'Orvietan **, a name which in the end,\nby extension, was given to the medicament\nitself: on this occasion also, expelled from\nthe Faculty, he was obliged to humble him-\nself and ask pardon in full conclave.\nThere was cause enough why a man of\nnone too easy character, as was Mauvillain,\nshould seek in every way to be avenged on\nhis persecutors. While Moliere was gleaning\namong the medical men of his time all their\nweaknesses, vanities, defects and .vices, Mau-\nvillain, his friend, supplied him with impla-\ncable exactitude in regard to the \" technical \"\nmatters of medicine and what might have\nescaped even the most acute observer: in\nthis grandiose, immortal satire on the Medi-\ncine of the Seventeenth century there is thus\nthe association of two rancours : the incurably\nsick man avenges himself with weapons fur-\nnished to him by the most undisciplined of\nthe doctors of the Faculty.\nBut, for Moliere to have been able thus\nopenly to banter the very doctors of the\nCourt itself, it was essential that he should\nfeel himself supported hy the King. And\nLouis XIV was, in this respect, like the\nhumblest of mortals; he found vast amuse-\nment in laughing at the ignorance of the me-\ndical men, save when he summoned them to\nhis bedside for the slightest indisposition.\nHis is that celebrated mot after the perfor-\nmance of the Malade Imaginaire: \" The\ndoctors have been making us weep long\nenough for them at least sometimes to make\nus laugh \".\nAnd, on coming out after the \" Berenice \"\nof Racine, Louis XIV, alluding to the ac-\ntions of the protagonist, is reported to have\nsaid to his first Doctor; \" I have been on\nthe point of sending for you to aid a princess\nwho desired to die without knowing how \".\nSince ridicule of the doctors does not\ncease even at the steps of the throne, is it\nlikely that the actors would forego it. And\nnaturally the long, solemn and bureaucratic\nceremonies through which a candidate had to\npass before becoming \" Doctor in Medicine \"\ncould not escape the satire of Moliere.\nThe famous burlesque ceremony of the\n\" Malade imaginaire \" finds its exact coun-\nterpart in real life. In this ceremony the co-\nmic poet synthesizes the most characteristic\nand significant traits of the ceremonies, at\nwhich the candidate had to take part, from\nthe beginning of his studies until he took his\ndegree : the Praeses of the comedy was no-\nthing else than the Vesperia, save that this\nceremony did not take place on the same day\nas the taking of the oath, as Moliere was im-\npelled by scenic exigencies to make it; the\nthree articles of the solemn oath likewise cor-\nresponded to reality, save the second, which,\ntreating of a religious question (of the obli-\ngation of the doctors to attend the masses of\nthe Faculty), Moliere could not bring upon\nthe stage, and so he substituted, instead, the\noath to hold on every occasion the same opi-\nnion as the ancients, whether that were good\nor bad.\nSo also the beating which Sganarelie re-\nceives and gives, in the \" Medecin malgre\nlui \", where he declares that he was made\ndoctor in such manner, is an ironic allusion\nto the blow on the cap which the candidate\nreceived from the president in the act of pla-\ncing upon his head the square cap as docto-\nral symbol. At Montpellier, where the cli-\nmate is warmer, this ritual gesture was perhaps\nless solemn but more energetic, for the can-"}, {"page_pdf": 32, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.32", "texte": "dictate received from his new colleagues, in\nthe guise of congratulations, a hail of blows.\nAlso the maccheronic Latin used by Mo-\nliere was a scenic requirement, for the Latin\nused by the doctors in their discussions and\ntheir theses was, on the contrary, Latin of the\npurest, and, not infrequently, very elegant.\nMoliere falls into but one anachronism,\nwhen, to the neo-doctor, he accords the right\nto \" cut, bleed, etc \", while it is well known\nthat such more humble office was reserved\nto the surgeons and barbers : in fact, accor-\nding to the oath of Hypocrites, the physi-\ncians were expressly prohibited from cutting.\nEvery eccentricity of the medicine of the\nperiod finds its burlesque commentary in some\nplay by Moliere : so that when Sganarelle,\nin the \" Medecin malgre lui \", orders the\npeasant Perrin, to cure his hydropical mother,\n\" a piece of prepared cheese, in which is\ncontained some gold, coral and pearls, and a\nquantity of other precious things \", he is ma-\nking fun of the polypharmacy, in great vogue,\nespecially at Montpellier, and does but re-\ncopy a prescription from the Farmacopea dei\nDogmaiici \" Pharmacopoeia of the dogma-\ntists \" by J. de Chesne, wherein, to fortify\nthe heart, \" some leaves of gold, coral, pearls,\nand amber \" are prescribed; while Louis XIV,\nby order of Valot, took pills in which were\nincluded gold, pearls and coral.\nAnd in his last play Moliere, by that\ntime disillusioned, distrustful of the doctors\nand their cures, and on the verge of death,\nattacks medicine itself with this boulade, which\nhe puts in the mouth of Beralde: \" I see\nnothing more ridiculous than a man who\nwants to intermeddle to cure another \".\nAfter Moliere's death the doctors were\nstill not left in peace by the comic poets: in\nfact the majority found nothing better than\nto press home the most applauded satires\nagainst the medical body; but, after such a\nmodel had been set up, what could they\nsay that had not been already said ?\nIt was for the most part in farces, repre-\nsented at the Theatre Italien, that the same\nold themes are served up afresh.\nIn the \" Regal des Dames \", Arlecchino,\ndressed as an operator, wishes to extract a\ntooth for someone who is not suffering, \" be-\ncause of the pain that might seize him \".\nIn the \" Arlecchino, chevalier du soleil \"\nby Nolant de Fatonville, Pascariello counsels\nArlecchino to become a doctor : \" It is a\nmost lucrative calling. Look how much the\ndoctor earns when he is in fashion for the\ngout! He has taken more than two hundred\nthousand francs, and knows no more than\nyou \". And Arlecchino replies, \" He must\nknow very little then, because I know not-\nhing Pascariello. \" This will not prevent\nyou being a skilful physician \". Arlecchino.\n\" Are you joking? I don't know how to read,\nor write \". Pascariello \" It doesn't matter, I\ntell you. It is not the learning that makes\nthe successful doctor, it is effrontary and gab.\nIn the \" Ombre de Moliere \" by Brecourt,\nthe doctors come to demand vengeance on\nMoliere for the disdain which he has always\nmanifested for their illustrious corporation, and\nthere occurs this retort, which enlightens us\nregarding the authors' intentions : \" How de-\nsirable would it be to become beasts when\nwe fall ill! But how much reason there\nwould be for fear, were there to be found\nas many doctors among the brutes as there\nare brutes among the doctors ! \"\nIn \" Les Desirs \" Arlecchino, to follow\nthe rules of Hypocrites which teach that one\nshould intoxicate himself once a month, does\nso three times a week so as to make no\nmistake.\nIn the \" Arlequin, Empereur de la Lune \"\nby Noland de Fatonville, Columbine asks if\nin the moon also the doctors kill the sick\npeople, and, at the affirmative reply, exclaims.\n\" It is just the same as here \".\nIn the \" Brontolone \" (the Grumbler) by\nBrueys, the old jest of Bacon is resumed : a\nminister, enraged at having been deprived of\nhis office declares, \" since they prevent me\nfrom exercising my office \" \"I shall be the\ncause of death to more than a hundred men....\nI will become a doctor \".\nIn the \" Moliere, comedien aux Champs\nEly sees \" by Bordelon, a sick man says to Sca-\npin, the doctor, (who is reassuring him by\nsaying, ' fear nothing ') : \" Believe me, when\nthe, sick tremble it is not with fever, as peo -\npie would have it believed; but for the fear\nwhich the doctor, and all his terrible train,\ninspires in them \".\nIn \"La femme medecine \" by Montfleury\nthere is the \" medicin simpatique (an al-\nlusion to the charletan Digby), who cures\nfever by putting the nail parings and the hair\"\ncuttings of the sick person in a tree in such"}, {"page_pdf": 33, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.33", "texte": "wise that this latter takes the fever and the\nman is left free.\nAnd, finally, in a play by Saint-Evre-\nmond, intitled 44 Les Operas \", there is this\ndefinition of medicine, to which Moliere him-\nself might have appended his signature : 44 a\nscience of conjectures, in which the doctor\nmay well not believe himself; and Mayerne,\nthat great doctor, was wont to say that cun-\nning was the surest part of medicine\nIt may be asked how it was that the\ndoctors never replied to such bitter and vio-\nlent attacks; how the Faculty, so jealous of\nits prerogatives, so cavilling and so easily ir-\nritated, never sought in some way to defend\nitself against the accusations which were\nbeing continually launched at it from the thea-\ntre stages by the comic authors, from Mo-\nliere to the most obscure among the comici\ndelVarte.\nIt was because the doctors knew hardly,\nor not at all, the plays in which they were,\nalmost daily, ridiculed : of such attacks they\nhad no information save by hearsay: they\nnever went to the theatre : a doctor, as also\na magistrate, who should have presented him-\nself at the play would have been pointed at\nand discredited by all; no client would have\nagain called him in.\nThus any -doctor, who should feel bored\nby having to take his wife to the theatre,\ncould today invoke the authority of tradition :\nand, to her insistences, could always reply,\n44 go this evening to the Manzoni ? But do\nyou really want to see me dishonoured ? .\nThis essay, in an amplifiedform, appears in Dr\nVolume u Studii Molieriani Ed, Sandrony Palermo,\n\nWHICH PARIGI...\nWHICH BIBIENA\nBY JAN VAN MOLT.\nTHE Exhibition at the Victoria and Al-\nbert Museum of the original pen and\nwash drawings by Inigo Jones for the Masques\nof Ben Jonson, and the publication of a very\nfine 44 Descriptive Catalogue \" of these Jones\ndrawings by the Walpole and Malone Socie-\nties, was quite a little event in the annals of\nthe English Stage but one which I understand\nthe English Stage had serious reasons for wish-\ning to ignore. However, I was delighted with\nwhat I saw when I went over to London last\nyear.\nAn Inigo Jones does not grow on every\nbush in England, or in Holland for that matter;\nneither on 17th century bushes nor on those\nof today.\nBut it seems that there were numbers of\nsuch masters in Italy in the 16th and 17th\ncenturies, ....and many more in the 18th cen-\ntury. Their names, well known in their own\nland, are beginning to be known in Holland\nand England at last. For example, it is not\nseldom today that one hears of Parigi, of\nSerlio6; and the name Bibiena is today uttered\nalmost as often as was Raphael's yesterday.\nThere is perhaps some danger in being\ntoo quick in passing round a name, for there\nis the possibility that more than one Parigi,\nmore than one Bibiena may have existed.\nAnd indeed there were four of the name\nParigi. You correct me with 4 three * ? No,\nthere were at least four. Three of these were\nscenographers and the fourth seems to have\nbeen an engraver. There were more than eight"}, {"page_pdf": 34, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.34", "texte": "Bibienas, and fully eight were scenographers,\nnot including the first one of that name who\nmay or may not have painted sceneries.\nBut if it be dangerous to dash in with a\nParigi here and a Bibiena there, how peri-\nlous to attempt any dash at all, when the ar-\ntist one would speak of has not even handed\non his name to us on his design.\nI am thinking of two drawings both of\nwhich are unsigned ; the drawing at the head\nof this article and the one reproduced as\nPlate 8 and I, for one, am not going to\nbegin flourishing the word \"probable \". There\nis perhaps some justification for genuine his-\ntorians such as Chambers or Brunelli telling\nus what they consider \" possible \" and what\n\"probable\", for they are men who have\ngiven the world serious contributions to the\nHistory of the Dramatic Art and should be\nprivileged to be \" garrulous to the last\nBut I feel a little selfish regret that even\nsuch scholars should deign to patch their fabric\nwith any \"possibles\" and \"probables\", since\nthese are the only two rags left for the am-\nateur historian to shiver in.\nAnd I am only one of these amateurs,\nand when I begin to hold forth on such\nmatters it is only my false white beard (per-\nfectly joined, 1 admit) which can attract\nanyone's attention or command admiration.\nFor I, like* Gordon Craig, am forced to\nadmit that I am no historian: I really do not\nknow how it is done, this historiography.\nHistrionics are my concern, and I have\nacquired a far greater familiarity with the tools\nthan the tomes of the craft, and this teaches\nme some ordinary truths as to why stage\ndrawings are thus or thus, which more learned\nmen might be apt to overlook.\nThe first thing, for example, which I\nlearn is that if a young man of twenty-five\nand called Parigi is doing remarkably well at\nthe craft of scene-painting, it's ten to one he\nhad a father who was pretty good at it too:\n....then I do not lose time in admiring as a\nmiracle what I have learnt is a quite natural\nproduct.\nAnd if Bibiena ever existed, I like to look\nup where he lived and when and so I\nstumble across the fact that there weVe more\nthan eight Bibienas.\nThen I look at drawings attributed to the\nfather and the brother and the sons, and the\nfun begins.\nReal historians do this, of course but\nTheatrical critics seldom do this. Every Dra-\nmatic Critic will in future know there are four\nParigis and eight Bibienas for I have told them\nso .... but how many knew it yesterday?\nWell, we all study these things a bit,\nhere in Haarlem.\nThe design at the head of this article is reproduced from\na sepia drawing in pencil and pen for a scene in an opera,\n{circa 1700). The design is Italian. The original drawing is\nin the collection of Mr Gordon Craig, who has kindly allowed\nus to reproduce it. Ed.\n\nTWO WORDS ON\nLOYALTY TO A CAUSE\nOffered for the consideration of our Readers in relation\nto \" This Little Theatre to be found on page 68.\n\" ... To such men as concern me in any way I wish\nsuffering, desolation, sickness, ill-treatment, indignities of\nall kinds. I wish the misery of the defeated. I have no\npity for them ; because I wish them to have the oily\nthing which to-day proves whether a man has any value\nor not, namely, the capacity of sticking to his guns.\nNietzsche.\n\" Come, he who stays at home is a coward. I pro-\nmise you weariness, hardships and battles. But we will\nconquer or die.\n\" Fortune, who betrays us to-day will smile on us to-\nmorrow. lam going out from Rome. Let those who\nwish to continue the war against the stranger, come with\nme. I offer neither pay, nor quarters, nor provisions. I\noffer hunger, thirst, forced marches, battles and death.\nLet him who loves his country in his heart, and not with\nhis lips only, follow me Garibaldi.\nSUCH IS THE LOYALTY WHICH\nTHE THEATRE, THAT OTHER WORLD,\nREQUIRES OF US TODAY\nIF IT IS TO REALIZE ITSELF."}, {"page_pdf": 35, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.35", "texte": "THE PLAN OF ROMA\nFOREWORD\nBY GIOVANNI BATTISTA NOLLI, 1748\nJ. S.\n\nIN the last number of \" The Mask toe reproduced,\non a reduced scale, the whole of this celebrated\nplan in twenty-four full page plates, adding one of\nthe two lists of reference made by Nolli.\nWe now reprint (as promised). Nolli's second table\nof references, the alphabetical one.\nAt the close we publish a letter receioed from the\nSuperintendent of the Royal Archives of Roma, which,\nlike others received, testifies to the appreciation, widely\nmanifested, of the service \" The Mask \" has rendered\nto students in publishing the reproduction of this Plan.\nALPHABETICAL INDEX OF THE PLAN\nEXISTING ANTIQUITIES\nAcqua Juturna 1056\nAcquedotto delPacqua Verg. 233\nAcquedotto di Claudio Imp, 1063\nAcquedotto di Claudio Imp, 25\nAnfiteatro Castrense 20\nAnfiteatro Flavio d.° il Colosseo 936\nArco di M. Aurelio Imp. 353\nArco di Costantino Magno 935\nArco di Neron Claudio Druso 948\nArco di Gallieno Imp. 41\nArco detto di Giano 1053\nArco dal Volgo detto de' Pantani 124\nArco di Settimio Severo 96\nArco eretto da' Negozianti & Setti-\nmio Severo 1054\nArco di Tito Imp. 73\nArgine di Tarquinio 44\nBagni di Agrippa, e sue ruine 164\nBagni di Paolo, e sue ruine 119\nCarcere Mamertina, oT sia Tulliana 921\nCasa dal Volgo detta di Pilato 1091\nCastello delPacqua Marzia detto i\nTrofei di Mario 37\nCastro Pretorio 202\nCirco di Flora, e sue ruine 209\nCirco Massimo, e sue vestigie 1058\nCloaca Massima 1088\nColonna antica 925\nColonne antiche 1023\nColonna di M. Aurelio Imp. 310\nColonna Antonina giacente 340\nColonna gi& del Tempio della Pace 48\nColonna Traiana 113\nColonne tre antiche Scanellate 928\nColosseo 936\nConserve delle Terme Diocleziane 200\nConserve delle Terme Antoniane 1065\nConserve delle Terme di Tito 33\nCuria Ostilia, e sue ruine 959\nEmporio, e sue ruine 1070\nForo di Nerva, e Colonne anticlie 123\nForo Palladio, o di Nerva, e sue\nruine 85\nMausoleo d'Adriano, or Castello\nS. Angelo 1319\nMausoleo d'Augusto 472\nMeta Sudante 934\nMura di Settimio Severo 1137\nMuri antichi 1082\nMuri antichi 1096\nMuri antichi 833\nNave Votiva detta la Navicella 943\nObelisco Barberino giacente 215\nObelisco del Circo di Caracalla 605\nObelisco del Circo di Nerone 1286\nObelisco del Circo Massimo 10\nObelisco Lodovisio giacente 14\nObelisco del Mausoleo di Augusto 50\nObelisco nella Villa Mattei 944\nObelisco nella Villa Medici 393\nObelisco nella Piazza della Minerva 842\nObelisco nella Piazza della Rotonda 834\nObelisco Solare giacente 344\nPalazzo de' Cesari, e sue ruine 930\nPantheon detto la Rotonda 837\nPiedestallo della Colonna Antonina 338\nPonte Cestio, or di S. Bartolomeo 1099\nPonte Elio, o Adriano, or S. Angelo 1318\nPonte Fabricio, o quattro Capi 1092\nPonte Gianieolo, or Ponte Sisto 732\nPonte Senatorio, or Ponte Rotto 1107\nPonte Sublicio 1083\nPonte Trionfale, c sue ruine 541\nPortico di Gneo Ottavio, e sue\nruine 756\nRocca Tapea 978\nRuine Antiche 3\nSaline antiche 1081\nSepolcro di Caio Cestio 1068\nSepolcro di Caio Publicio 110\nSito del Settizonio di Severo 953\nTeatro di Marcello 1022\nTeatro di Pompeo, e sue ruine 636\nTempio di Antonino © Faustina 81\nTempio di Antonino Pio 322\nTempio creduto di Claudio 1\nTempio della Concordia 924\nTempio d'Ercole Custode 884\nTempio della Fortuna Virile 1090\nTempio di Giove Tonante 923\nTempio creduto d'Isside, e Sera-\npide 71\nTempio di Minerva Medica 26\nTempio creduto di Nettuno 328\nTempio della Pace 74\nTempio della Pudicizia e sue ruine 1086\nTempio creduto di Romolo 962\nTempio creduto del sole, e sue\nruine 258\nTempio di Venere 208\nTempio di Venere, e Cupidine 22\nTempio di Vesta 1089\nTerme di Agrippa, e sue ruine 874\nTerme Alessandrine, e sue ruine 806\nTerme Antoniane 1064\nTerme Diocleziane 203\nTerme di S. Elena 24\nTerme di Tito Imp. 32\nTerme di Traian Decio, e sue ruine 1070\nTrofei detti di Mario, e sue ruine 37\nVilla di Mecenate, e sue ruine 39\nACQUEDUCTS\n& MODERN ARCHES\nAcqaedotto delPacqua Felice 205\nAcquedotto delPacqua Paola 1191\nAcquedotto delPacqua Paola 1281\nArco di S. Agostino 516\nArco di Carbognano 302\nArco della Ciambella 785\nArco de' Gesuiti 848\nArco di Gin nasi 892\nArco de' Greci 410\nArco di Parma 523\nCHAPELS\nS. Andrea 956\nS. Antonio di Padova 1189\nS. Barbara 957\nS. Caterina da Siena 841\nSS. Ooncezione 1276\nCrocifissione di S. Pietro 1187\nSS. Crocifisso nel Cemeterio di\nS. Spirito 1235\nSS. Crocifisso 945\nS. Domenico 950\nS. Gaetano 394\nS. Gio. in Oleo 947\nS. Lazzaro a' Marmorata 1073\nS. Margarita 18\nS. Maria delPArco 1067\nS. Maria de' Cisterciensi 19\nS. M. in Monasterio 61\nS. M. de' Cerchi 960\nS. M. Maggiore in Aventino 1078\nS. M. Maddalena 1232\nS. M. Sotto PArco, e Abitazione\nd& Cavallegieri 1267\nS. Maria della Pieta nel Colosseo 936\nS. Maria nel Sagro Monte di Pietk 725\nS. M presso S, Marco 105\nS. Silvia 955\nTriclinio Leoniano 17"}, {"page_pdf": 36, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.36", "texte": "CHURCHES OF SECOLARS\nWITH MONASTERIES\nCONVENTS HOSPICES &c.\nS, Adriano de' PP. della Mercede 94\nS. Agata in Suburra, de' Monaci\ndi Monte Yergine 168\nS. Agata di Tessitori 92\nS. Agata in Trastevere de' PP.\ndella Dottr, Crist. 1156\nS. Agnese 608\nS. Agostino degli Agostiniani Paroc. 816\nS. Alessio de' Monaci Geronimini 1076\nS. Ambrogio della Massima Mona-\nche Benedettine 1017\nS. Anastasia Collegiata 961\nSi Andrea e Bernardino de' Ri-\ngattieri 70\nS. Andrea delle Eratte de' Minimi\nparoc. 365\nS. Andrea k Monte Cavallo de' Ge-\nsuiti 177\nS. Andrea degli Scozzesi 218\nS, Andrea dello Sped, di S. Gio. La-\nterano 12\nS, Andrea della Yalle de' Teatini 775\nS. Angelo in Borgo 1314\nSS. Angeli Custodi 231\nS. Angelo in Pescaria paroc. e\ncolleg. 1020\nS. Aniano de' Lavoranti Calzolai 1052\nS, Anna Monache Benedettine 763\nS. Anna de' Calzettari 1084\nS. Anna, e Gioachino de' Carme-\nlitani Spagnuoli 179\nS. Anna de' Parafrenieri 1293\nSS.ma Annunziata all'Arco de' Pan-\ntani Monache Domenic. 123\nSS.tha Annunziata Monache Ago-\nstiniane dette le Turchine 157\nS. Antonio Ab, de' Canonici Rego-\nlari di Yienna in Francia 45\nS. Antonio de' Portoghesi 506\nS. Apollinare paroc. 515\nS. Apollonia Monache del 3 or-\ndine di S. Eranc. 1169\nSS. XII Apostoli de' Minori con-\nventual paroc. 283\nS. Atanasio de' Greci 409\nS. Balbina de' Pii Operari 1060\nBambino Gesti Oblate Agostiniane 162\nS. Barbera de' Librari 634\nSS. Bartolomeo, e Alessandro de'\nBergamaschi 316\nS. Bartolomeo all' Isola de' Minori\nOsservanti paroc. 1098\nS. Bartolomeo de' Yaccinari 748\nS. Basilio de' Monaci Basiliani 213\nSS. Benedetto, e Scolastica de' Norcini 786\nSS. Benedetto in Piscinola paroc. 1104\nS. Bernardino da Siena monache\ndel 3 ord. di S.\nS. Bernardo alle Term© de' Cister-\ncien. Riform. di detto Santo 195\nS. Biagio della Pagnotta Par. 558\nS. Bibiana 27\nS. Bonaventura de' Minori Osser-\nvanti del Ritiro 931\nS. Bonosa de' Calzolai 1154\nS. Brigida de' Goti de' PP. del\n3® Ord. del SS.riio Salvatore 699\nS. Caio unita alle Monache Bar-\nberine 192\nS. Calisto de' Monaci Cassinensi 1164\nDelia Carcere di S. Pietro 921\nS. Carlo a' Catinari de' Barnabiti\nparoc. 759\nSS. Carlo, ed Ambrogio de' Mila-\nnesi 461\nS. Carlo alle qnattro Eontane de\nTrinitari Scalzi Spagnuoli 180\nS. Catarina de' Eunari Monache\nAgostiniane 1003\nS. Catarina della Rota paroc. 702\nS. Catarina da Siena Monachi Do-\nmenicane 130\nS. Catarina de' Sannesi 695\nSS. Celso, e Giuliano Colleg. paroc. 575\nS. Cecilia Monache Bened.a paroc. 1121\nS. Cesareo 1062\nS. Chiara Mouache di detta Santa 873\nS. Claudio de' Borgoguoni 236\nS. Clement© de* Domenic. Ibernesi 130\nSS.ma Concez.e delle Camaldolesi 1120\nSS.ma Concezione de' Cappuccini 380\nSS.ma Concezione Monache Cap-\npucine dette Earnesiane 67\nSS.ma Concezione alle Viperesche 42\nSS. Cosmo, e Damiano de' Barbieri 768\nSS. Cosmo, © Damiano in Campo\nYaccino de ' PP. del 3 ord. di\nS. Eranc. 80\nSS. Cosmo, e Damiano in Traste-\nvere Monache di S. Chiara 1136\nS. Croce in Gerusalemme de' Mo-\nnaci Cistercien. Lombardi 21\nS. Croce e Bonaventura de' Luc-\nchesi 1256\nS. Croce alia Longara Monache\nAgostiniane della Penitenza 1214\nS. Dionisio de' Trinitari Scalzi\nErancesi 182\nSS. Domenico e Sisto Monache Do-\nmenic, della Prov. di Lom-\nbardia 131\nS. Dorotea de' Minori Convent. 1206\nS. Egidio in Borgo 1294\nS. Egidio in Trastevere Monache\nCarmelitane Scalze 1182\nS. Elena de' Credenzieri 764\nS. Eligio de' Eerrari 1047\nS. Eligio degli Orefici 690\nS. Eligie de' Sellari 1101\nS. Elisabetta degl' Invalidi 565\nS. Elisabetta de' Garzoni Tedeschi\nEornari 631\nS. Eufemia Conserv. di Zitelle 115\nS. Eusebio de' Monaci Celestini 38\nS. Eustachio Colleg. paroc. 802\nS. Eranc. Bomana dentro il Mo-\nnast. delle Monac. oblate di\nTor de' Specchi 986\nS. Eranc. Romana in Campo Yac-\ncino de' Monaci Olivetani 72\nS. Erancesca Romana k capo le Case\nde' Trinitari Italiani 375\nS. Francesco d'Assisi 731\nS. Francesco di Paola de' Minimi\ndi Calabria paroc. 65\nS. Francesco a' Ripa de' Min. Os-\nser. Riiorm. 1134\nS. Filippo Neri de' Convertiti 1250\nS, Eilippo Neri a Strada Giulia 666\nSS. Faustina© Giovita detta S. Anna\nde' Bresciani 559\nS. Galla 1040\nGesii e casa professa de' Gesuiti 902\nGesu, e Maria degli Agostiniani\nScalzi 407\nS. Giacomo degl' Incnrabili 476\nS. Giacomo alia Longara Monache\nAgostiniane 1216\nS. Giacomo Scossa Cavalli paroc. 1248\nS. Giacomo de' Spagnuoli 606\nS. Giorgio in Yelabro degli Ago-\nstiniani di Genova 1055\nS. Gio. in Aino paroc, 681\nS. Gio. Calibita de' Benfratelli 1093\nS. Gio. Decollato 1049\nS. Gio. de' Fiorentini paroc. 549\nS. Gio, in Font© 9\nS. Gio. de' Genovesi 1120\nS. Gio. Laterano Patriarc. e paroc. 5\nS. Gio. della Malva de' Ministri\ndegl' Infermi paroc. 1203\nS. Gio. de' Maroniti 228\nS. Gio. de' PP. della Mercede 361\nS. Gio. e Paolo de' Missionari 958\nS. Gio. e Petronio de' Bolognesi 713\nS. Gio. della Pigna 869\nS. Gio. a Porta Latina de' Minimi\ndella Prov. Rom. 946\nS. Girolamo della Caritit 1701\nS. Girolamo de' Schiavoni Colleg. 459\nS. Giuliano in Banchi 578\nS. Giuliano de' Eiamminghi 772\nS. Giuliano a' Monti de' Carmelit.\ndella Prov. Rom. 26\nS. Giuseppe a' capo le Case Mona-\nche Teresiane 373\nS. Giuseppe de' Ealegnami 921\nS. Giuseppe alia Longara de' Pii\nOperari 1225\nS. Gregorio Magno sul Monte Celio\nde' Monaci Camaldolesi 1954\nS. Gregorio de' Muratori 495\nS. Gregorio a' Ponti 4 Capi 1036\nS. Grisogono de' Carmelitani della\nCongreg. di Mantoa paroc. 1143\nS. Jgnazio de' Gesuiti 847\nSS. ildefonso, e Tommaso da Yil-\nlanova degli Agostiniani Scalzi\nSpagnuoli 374\nSSma Incarnazione Monache Car-\nmelitane di S. M. Maddalena\nde' Pazzi 192\nS. Isidoro de' Minori Osser. Ir-\nlandesi 384\nS. Ivo de' Britanni paroc. 504\nS. Ivo nella sapienza 800\nS. Leonardo degli Eremiti Camal-\ndolesi di Monte Corona 1226\nSS. Lorenzo, e Damaso Colleg. e\nparoc. 645\nS. Lorenzo in Forte 153\nS. Lorenzo in Lucina de' Chierici\nMinori paroc. 350\nS. Lorenzo in Miranda de' Speziali 81\nS, Lorenzo a' Monti paroc. 106\nS. Lorenzo in Pane, e Perna Mo-\nnache di S. Chiara 164\nS. Lorenzo in Piscibus de' PP. delle\nscuole Pie 1257\nS. Lucia delle Botteghe Oscure\nMonache Teresiane paroc. 893\nS. Lucia della Cliiavica 661\nS. Lucia in Selce Monache Agosti-\nniane 59\nS. Lucia della Tinta Colleg. e par. 508\nS. Luigi de' Francesi paroc. 808\nS. Marcello de' Serviti Parrocchia 286\nS. Marco Colleg. e paroc. 907\nS. Margarita Monache del 3 or. di\nS. Francesco 1170\nS. M. degli Angeli alle Terme\nde' Monaci Certosini 203\nS. M. dell'Anima della Nazion\nTeutonica 600\nS. M. in Aquiro paroc. 330\nS. M. d'Araeeli de' Minori Osser. 917\nS. M. del buon Yiaggio 1127\nS. M. in Cacaberis de' Cocchieri 755\nS. M. in Campo Carleo paroc. 121\nS. M. in Campo Marzo Monache\nBenedettine 440\nS. M. in Cappella 1116\nS. M. del Carmine 267\nS. M. della Consolazione 966\nS. M. in Cosmedin Colleg. e paroc. 1086\nS. M. de' 7 dolori oblate Agosti-\nniane 1196\nS. M. in Domenica detta la Navi-\ncella de' Melchiti di S. Basilio 942\nS. M. Egiziaca degli Armeni 1090\nS. M. de' Febribus or Sagrestia di\nS. Pietro in Yaticano 1284\nS. M. in Eonte 7\nS. M. e S. Gallicano 1159\nS. M. delle Grazie alia Consola-\nzione 968\nS. M. delle Grazie de' Romiti a'\nPorta Angelica 1296\nS. M. di Grotta Pinta paroc. 635\nS. M. dell'ldria de' Siciliani 372\nS. M. Imperatrice 940\nS. M. Liberatrice 929\nS. M. di Loreto al Colosseo 31\nS. M. di Loreto de' Eornari 274\nS. M. Maddalena al corso Monache\nAgostiniane 356\nS. M. Maddalena a' Monte Cavallo\nMonache Domenicane 176\nS. M. Maddalena de' Ministri de-\ngl' Infermi 334\nS. M. Maggiore Patriarcale 49\nS. M. ad Martires Colleg. paroc. 837\nS. M. sopra Minerva de' Domeni-\ncani paroc. 844"}, {"page_pdf": 37, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.37", "texte": "S. M. de Miracoli de' PP. del\n3 ord. Pi form, di S. Franc.\nFrancesi 484\nS. M. di Monserrato degli Ara-\ngonesi 688\nS. M. di Monte Santo de' Carme-\nlitani Piform. 404\nS. M. di Monterone de' PP. della\nMercede Scalzi Italiani paroc. 784\nS. M. de' Monti de' Pii Operari 137\nS. M. in Monticelli de' PP. della\nDottr. Crist. Avignanesi paroc. 737\nS. M. della Neve de Cistercien.\nPiform. Fuliensi 221\nS. M. dell' Orazione detta della\nMorte 703\nS. M. dell' Orto 1122\nS. M. della Pace dei Canonici\nPegol. Late ran en si paroc. 599\nS. M. del Pascolo de' Monaci Ba-\nsiliani Puteni 140\nS. M. del Pianto 753\nS. M. della Piet& in Campo Santo\ndella Nazion Tedesca 1271\nS. M. del Popolo degli Agostiniani\nLombardi paroc. 401\nS. M. Porta Paradisi 479\nS. M. in Porticu de' Chierici Pegol.\ndella Madre di Dio paroc. 989\nS. M. in Posterula de' Monaci Ce-\nlestini paroc. 522\nS. M. del Priorato 1075\nS. M. della Providenza, e Conser.\ndi Zitelle 492\nS. M. in Publicolis paroc. 757\nS. M. della Puraficazione in Banchi\nde' Transalpini 553\nS. M. della Puraficazione ai Monti\nMonache di S. Chiara 60\nS. M. della Purity de' Caudatari 1309\nS. M. della Quercia de' Marcellari 710\nS. M. Pegina Coeli Monache Car-\nmelitane Scalzi 1221\nS. M. della Sanity de' Siriaci 186\nS. M. della Scala de' Carmelitani\nScalzi 1199\nS. M. del Sole 1089\nS. M. del Sufiragio 560\nS. M. della Traspontina de' Car-\nmelitani paroc. 1311\nS. M. in Trastevere Collegiata paroc. 1165\nS. M. in Trivio de' Ministri degli\nInfermi paroc. 242\nS. M. in Vallieella de' PP. della\nCongreg. dell' Orat. 656\nS. M. delle Yergini Monache Ago-\nstiniane 299\nS. M, in Via de' Servi di Maria\nparoc. 238\nS. M. in Via Lata Colleg. paroc. 851\nS. M. in Vinci de' Saponari 975\nS. M. della Yittoria, de' Carme-\nlitani Scalzi Italiani 207\nS. M. dell' Umiltk Monache Dome-\nnicane 296\nS. Marta Monache Agostiniane 859\nS. Marta al Yaticano de' Trinitari\nScalzi Italiani 1278\nS. Martina, e Luca de' Pit tori 97\nS. Martino al Monte della Piet& 723\nS. Martino a' Monti de' Carmeli-\ntani paroc. 58\nS. Martino degli Svizzeri 1289\nS. Matteo in Merluana degli Ago-\nstiniani Irlandesi 28\nS. Mauto 323\nSS. Michele, e Magno 1259\nNativity di N. S. G. C. degli Ago-\nnizanti 619\nSS. Nereo, ed Achilleo 1061\nS. Nicold in Arcione de' Servi di\nMaria paroc. 224\nS. Nicolb in Carcere Collegiata Pa-\nrocchia 1038\nS. Nicolb a Cesarini de' Somaschi\nparoc. 883\nS. Nicolb degl' Incoronati Parocchia 664\nS. Nicolb de' Lorenesi 603\nS. Nicolb de' Prifetti de' Domeni-\ncani di S. Sabina paroc. 447\nS. Nicolb di Tolentino degli Ago-\nstiniani Scalzi *2ll\nSSmo Nome di Maria 272\nS. Norberto de' Canonici Pre-\nmoßtratensi 189\nS. Omobono de' Sartori 1046\nS. Onofrio di Ermiti del B. Pietro\nda Pisa 1228\nSS. Orsola e Catarina 981\nS. Orsola Monache Agostiniane 412\nS. Pantaleone de' PP. delle Seaole\nPie 624\nS- Pantaleone a Monti 76\nS. Paolo prim* Eremita degli Ere-\nmifci Ungari 185\nS. Paolo alia Regola de' PP. del\n3 ord. di S. Franc. Siciliani 734\nS. Pasquale g\\k SS, 40. MM. Dei\nMinori Osser. Scalzi Spagnuoli 1139\nS. Pellegrino della Guardia Sviz-\nzera 1435\nSS. Pietro, e Marcellino de' Maro-\nniti di S. Antonio Ab. 29\nS. Pietro in Montorio de' Minori\nOsser v. Riform. 1186\nS. Pietro in Yaticano Patriarcale,\ne paroe. 1285\nS. Pietro in Vincoli de' Canonici\nPeg. di S. Salvatore 64\nS. Prassede de' Monaci Vallombro-\nsani paroc. 56\nS. Prisca degli Agostiniani Lom-\nbardi 1059\nS. Pudenziana de' Cistercien. Pifor.\ndi S. Bernardo 188\nSS. Quattro Coronati Monache\nAgostiniane 938\nSS. Qnirico, e Giulitta de' Dome-\nnicane paroc. 89\nSS. Re Magi 364\nB. Pitta de' Casciani 914\nS. Pocco 468\nS. Pomnaldo de' Monaci Carnal. 278\nSS. Rnfina, e Seconda nel Later. 8\nSS. Ruftna, e Seconda in Traste-\nvere Oblate Agostiniane 1171\nS. Saba 1066\nS. Sabina de' Domenicani 1077\nSS.mo Sagramento a Monte Ca-\nvallo Monache Cappnccine 176\nSS.fiio Salvatore in Campo paroc. 738\nSS.ffio Salvatore de' C&tecumeni\nparoc. 135\nSS.mo Salvat. delle Coppelli paroc. 825\nSS.tho Salvatore della Corte dei\nminimi paroc. 1146\nSS.fho Salvatore in Lauro della Na*\nzion Picena 535\nSS.fiio Salvatore in Onda de' Mi-\nnori Conv. paroc. 730\nSS.fiio Salvatore k Ponte Potto\nparoc. 1108\nSS.mo Salvatore, e Stanislao de\nPollacclii 999\nSS.mo Salvatore in Tbermis 807\nSS.rno Salvatore al Torrione di-\nsmesso 1264\nSancta Sanctorum, e Scala Santa 15\nS. Sebastiano de' Mercanti 1009\nS. Sebastiano alia Polveriera 932\nS. Silvestro, in Capite Monache\ndi S. Chiara 357\nS. Silvestro k Monte Cavallo dei\nTeatini 259\nS. Silvestro degli Scultori 939\nS. Simon Profeta paroc. 525\nS. Simon, e Giuda paroc. 586\nS. Sis to de' Domenicani Trlandesi 949\nSpirito Santo alia Colonna Traiana\nMonache Canoniehesse Late-\nranensi 114\nSpirito Santo de' Napolitani 678\nS. Spirito in Sassia dei Canonici\nPegol. Ospitalieri paroc. 1238\nS. Stefano, del Cacco de' Monaci\nSilvestrini paroc. 860\nS. Stefano. de' Monaci Copti di\nS. Antonio Ab. 1279\nS. Stefano in Piscinula paroc. 660\nS. Stefano Potondo 1\nS. Stefano degli Ungari 1274\nStimmate di S. Francesco 866\nSSmo Sudario de' Piemontesi 774\nS. Susanna Monache Cistercien.\nparoc. 206\nSS. Teresa, e Gio. della Croce dei\nCarmelitani Scalzi 722\nS. Teresa alle 4 fontane Monache\nCarmelitane Scalze 191\nS. Tecla in S. Spirito 1240\nS. Teodoro 962\nS. Tommaso Ap. a Cenci paroc. 751\nS. Tommaso Ap. in Formis 941\nS. Tommaso Ap. in Parione paroc. 615\nS. Tommaso Cantuorieuse degli\nInglesi 697\nTrasfigurazioue del Sig.re nel-\nl'Ospiz, Apost. di S. Michele 1128\nS. Trifone 532\nSS. Trinity de' Trinitari Casti-\ngliani 423\nSS. TrinirA de' Missjonari 341\nSS. Trinity de' Monti de' Minimi\nFrancesi 391\nS. Trinity de' Pellegrini 726\nS. Yenanzio de camerinesi Paroc. 910\nB. Yergine del Rosario dentro Ca-\nstello 1320\nSS. Vincenzo, ed Anastasio dei\nCuochi paroc. 746\nSS. Yicenzo ed Anastasio a Trevi\ndei Chierici Minori paroc. 247\nYisitazione Monache di S. Fran-\ncesco di Sales 1223\nS. Yitale de Gesuiti 178\nSS. Vito, e Modesto de' Monaci\nCistercien. della Provincia Ro-\nmana 40\nS. Urbano Monache Cappuccine 103\nCOLLEGES & SEMINARIES\nAccademia Ecclesiastica 840\nCollegio Bandinelli 555\nCollegio Capranica 333\nCollegio Cerasoli 316\nCollegio Clemeutino 499\nCollegio Fuccioli 133\nColleg. Germauico Ungar. 815-515\nCollegio Ghislieri 677\nCollegio Ginnasi 895\nCollegio Greco 411\nCollegio degl' Ibernesi 126\nCollegio degl' Inglesi 697\nCollegio de' Maroniti 228\nCollegio Nardini 613\nCollegio Nazzareno 367\nCollegio de' Neofiti 137\nCollegio Panfili 608\nCollegio Piceno 535\nCollegio di Propaganda-Fide 364\nCollegio Salviati 330\nCollegio Scozzese 218\nCollegio dell' Umbria 1014\nSeminario di S. Pietro 1277\nSeminario Romano 324\nCONSERVATORIES &\nMONASTERIES OF WOMEN\nWITHOUT CHURCH\nConserv. dell'Assnnta 1194\nConserv. di S. Gio. Laterano 6\nConserv. dell© Malmaritate 1231\nConserv. delle Mendicanti 75\nGonserv. di S. Pasquale 1119\nConserv. delle Penitenti 1230\nConserv. delle Zoceolette 733\nMonast. delle Filippine 158\nMonast. dell' Oblate di S. Franc, di\nPaola 62\nCELEBRATED FOUNTAINS\nDell'Acqua Felice 205\nDelPAcqua Paola 1190\nDel Babuino 399\nDel Facchino 850"}, {"page_pdf": 38, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.38", "texte": "Del Mascherone di Farnese 704\nQuattro Fontane 181\nDi Trevi 243\nPUBLIC PLACES\nAccademia degli Arcadi 1193\nAccademia di Francia 285\nBanco di S. Spirito 572\nBastioni di Paolo 111 1074\nBastioni di S. Spirito 1236\nCancelleria Apostolica 647\nCarceri di Campidoglio 920\nCarceri di Correzione per i Fan-\nciulli 1132\nCarceri per le Donne 1133\nCarceri nuove 632\nCinque Scuole degli Ebrei cio&\nCatalana, Siciliana, Castigliana.\nScuola nuova, e Scuola del\nTempio 1030\nConforteria 539\nConsulta 174\nCuria Innocenziana 339\nDataria Apostolica 349\nDogana della Grascia 926\nDogana di Ripa Grande 1126\nDogana di Ripetta 493\nDogana di Terra 322\nDogana del Yino 1125\nFabrica del Tabacco 1195\nGovern o 614\nGranari Pubbliei 197\nGranari Pubbliei 204\nLuogo della Ripresa de' Barberi 111\nLuogo ove Sermoneggiano i PP.\ndella Congreg. dell'Orat. 1229\nMemoria di Enrico IY 43\nMonte di Pieta 725\nMura della Citta fatte da S.\nLeone IV 1283\nOrto Bottauico 1192\nPalaz. dell' Inquisizione 1265\nPol verier a 933\nPorta Antica di Roma, e Corri-\ndore di Alessandro Y1 1291\nPorta Settimiana 1207\nPorta S. Spirito 1237\nQuartiere della Guardia Reale 253\nQuartiere della Guardia Svizzera 1290\nSapienza 799\nScuole di S. Agata in Trastevere 1156\nScuole pubbliche del Collegio Ro-\nmano 847\nScuole pubbliche di S. Lorenzo in\nPiscibus 1257\nScuole pubbliche di S. Pantaleone 624\nScuole nuove de' PP. delle Scuole\nPie 891\nScuole delle Mastre Pie 864\nSepoltura degli Ebrei 1057\nSepoltura de' Giustiziati - 1051\nSepoltura degp Impeniten ti 402\nSepoltura de' Protestanti 201\nSepoltura de' Protestanti 1069\nTeatro Alibert 296\nTeatro Argentina 771\nTeatro Capranica 332\nTeatro de' Granari 618\nTeatro della Pace 611\nTeatro della Pallaccorda 441\nTeatro di Tordinona 536\nTeatro della Yalle 795\nZecca 1288\no ORATORIES o\nS. Andrea de' Pescevendoli 1021\nS. Andrea de' Yascellari 1110\nS. Andrea in Yinci de' Scar-\npellini 977\nS. Angelo in Borgo 1315\nSS. Assunta, e Cecilia alia Ch.\nNuova 657\nS. Carlo al Corso 462\nS. Catarina in S. Bernardo 196\nSS. Cosmo e Damiano de' Barbieri 769\nSS.mo Crocifisso a S. Marcello 287\nSS#mo Crocifisso in S. Niccolb in\nArcione 225\nDel Cuor di Gesu 963\nDottrina Cristiana 754\nDottrina Cristiana nella Traspon-\ntina 1212\nS. Eligio de' Ferrari 1048\nS. Francesco di Paola 66\nGesh Maria, e Giuseppe 408\nS. Giacomo Apost. de' Capellari 735\nS. Giuseppe de1 Falegnami 922\nS. Gio. Batta. de* Neofiti 136\nS. Gio. Decollato 1050\nS* Gregorio de' Muratori 496\nS. Gregorio Taumaturgo 908\nS. M. del Carmine alle 3 Cannelle 267\nS. M. del Carmine in Trastevere 1144\nS. M. del Confaleone 562\nS. M. della Neve 138\nS. M. della Piet& del P. Caravita 848\nS. M. della Pieta in Campo Santo 1272\nS. M. del Riscatto 95\nS. M. del Suffragio 561\nB. Nicola de' Rupe 251\nS, Orsola detta il Consolato 550\nDelle Piaghe di Gesti Cristo 667\nS. Rocco 469\nSpirito Santo de' Napolitani 679\nS. Spirito in Sassia 1245\nSS.mo Sagramento in S. Andrea\ndelle Fratte 366\nSS.fiio Sagramento in S. Susanna 376\nSS.mo Sagramento in SS. Celso e\nGiuliano 576\nSS.mo Sagramento in S. Gio. della\nMalva 1204\nSS.mo Sagramento in S. Lorenzo\nin Damaso 646\nSS.iho Sagramento in S. M. in Via 239\nSS fiio Sagramento in S. Nicolo\nin Carcere 1039\nSS.fiio Sagramento in S. Niccolb\nde' Prefetti 448\nSS.mo Sagramento in SS. Quirico,\ne Giulitta 90\nSS.fiio Sagramento in S. Gio. La-\nterano 16\nSS.fiio Sagramento in S. Giacomo\nScossacavalli 1249\nSS.mo Sagramento in S. Lorenzo\nin Lucina 424\nSS.tho Sagramento in S, M. in Tra-\nstevere 1166\nSS.mo Sagram. alia Rotonda 838\nS. Teresa alia Scala 1200\nSS. Trinita de' Pellegrini 727\nREGULAR HOSPICES\nWITHOUT CHURCH\nBenedettini Spagnuoli 377\nBenfratelli Spagnuoli 155\nCistercien. Lombardi di S. Croce 304\nCistercien. delle 3 Fontane 982\nEremiti Camaldolesi Toscani 194\nGeronimini di S. Alessio 983\nPenitenzieri di S. Gio. Laterano 4\nPenitenzieri di S. M. Maggiore 47\nPenitenzieri di S. Pietro in Vati-\ncano 1252\nS EC U L AR HOSPICES\nCatecumeni 135\nConvalescenti 31\nConvertiti alia Fede 1250\nCortegiani 153\nFanciulli Orfani 330\nFanciulli proietti 1241\nS. Galla per gli Domini 1040\nS. Luigi Gonzaga per le Donne 1041\nS. Michele per le Donne Invalide 1129\nS. Michele per li Fanciulli 1131\nS. Michele per gli Domini In-\nvalidi H3O\nPellegrini e Convalescent! 726\nPreti Pellegrini 890\nYedove 120\nNATIONAL ERCULAR\no HOSPICES o\nArmeni 1090\nAragonesi 688\nBorgognoni 236\nCastigliani 606\nFrancesi 808\nLiegesi 456\nPolacchi 999\nPortoghesi 506\nSiciliani 372\nSiriaci 186\nTeutonici 600\nYescovi Yeneti 260\no PALACES o\n—>aM—mmmMmmmMMmmmmmmrmamammmmmmmmmmmmmmmmmmrnmrnrnm\n*\nAbitazione della Famiglia di Casa\nColonna 265\nAbitazione della Famiglia Ponti-\nficia 255\nAbitazione di Raffael d'Drbino 584\nAccademia di Francia 285\nDi Agostino Ghigi oggi Farneee 1212\nAccoramboni 826\nAccoramboni 1308\nAlbani 187\nAlbani 190\nAJbani 184\nAlberini 178\nAlberoni 230\nAlibrandi 739\nA1 temps, Isimbardi, e S. Casa di\nLoreto 279\nAltemps 519\nAltieri al Gesii 861\nAltieri in Campitelli 988\nAltieri in Campitelli 1001\nAltoviti 540\nAmadei 865\nAmadori 352\nDe Angelis 368\nDella Comp. delPAnnunziata 1010\nDelia Comp. de' SS. XII Apostoli 290\nDella Comp. de' SS. XII Apostoli 626\nAstalli 995\nD'Aste 856\nD'Aste 672\nD'Aste di Genova 498\nDegli Atti 692\nAvogadri 425\nBaldocci 696\nBarberini con Villa 1260\nBarberini 215\nBarberini 216\nBernini 362\nBoccapadnli 1011\nBolognetti 277\nBonadies 643\nBonaventura 596\nBoncompagni 398\nBoncompauni 651\nBonelli 273\nBorghese 451\nBorgbese 453\nBorghese 831\nBossi 670\nBufalo 234\nBufalo 782\nBussi 878\nCaccia 729\nCaffarelli 979\nCamerata 580\nCancellaria Apostolica 647\nCaraccioli 621\nCarafa 511\nCarandini 109\nCardelli 445"}, {"page_pdf": 39, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.39", "texte": "Cardelli gik Capponi 491\nCardelli 992\nDe Carolis 849\nCarpegna 804\nS. Casa di Lore to 437\nCasali 818\nCapizucchi 987\nCapponi 579\nCapponi 684\nCapranica 331\nCapranica 794\nCavalieri 244\nCavalieri 765\nCavalieri 1254\nCavailerini 766\nCavalletti 990\nCaucci 655\nCellesi ora Negron 503\nCenci 756\nCenci 790\nCerosoli 162\nCesarini 887\nCesi 522\nCesi 868\nCesi 1256\nCesi 1261\nCeva 117\nCiampin* 51\nCicciaporci 574\nCiccolini 269\nCicogni 294\nCimarra 149\nDel Cinque 313\nCirci 909\nColonna Contestabile 281\nCloonna Contestabile 258\nColonna di Carbognano 300\nColonna di Sonnino 885\nColonna 863\nColtrolini 777\nDe' Conservatori 919\nDella Consulta 174\nConti 241\nConti 344\nConti 780\nConti 105\nDell' Ospiz. de' Convertiti 1251\nCorrea 472\nDelia Confr. del Confalone 512\nCorsini 1210\nCorsini Palombara 839\nCostaguti 1015\nCrescenzi 835\nDataria Apostolica 249\nDel Drago 594\nEalconieri 693\nFalconieri 694\nEarnese 705\nEarnese 1211\nEioravante 700\nDi Eirenze 446\nElorenzi 261\nEonseca 871\nGabrielli 582\nGaetani 35\nGalli e Colloretti 616\nGalli 642\nGalloppi 217\nGamberucci 913\nGentili 226\nDel Collegio Germanico TJngarico 814\nGhigi 309\nGhigi 348\nGhigi Montorio 686\nGhislieri 100\nDi S. Giacomo degP Incurabili 321\nDi S. Giacomo degl' Incurabili 481\nDi S. Giacomo degl' Incurabili 828\nGinnasi 894\nGiraud 1310\nGiustiniani 832\nGomez 415\nGottifredi 521\nGottifredi 857\nGrassi 266\nGrillo 128\nGiimaldi 295\nGrimani 219\nGuarnieri 385\nGuelfi, Camaiani Montauti, e Ro-\nvarelli 318\nJacobilli 760\nIncoronati 671\nIngani 862\nDel Collegio Inglese 698\nDell' Inquisizione 1265\nLancellotti 633\nLancellotti 623\nLanci 303\nLanti 793\nLanti 1218\nLavaiani 646\nLeoni 1168\nLercari 1037\nLucatelli 381\nLudovisi 382\nMaccarani 297\nMaccarani 993\nMaculani 609\nMagnani 349\nDelia Religion di Malta 418\nMancini 665\nMandosi 709\nManfroni 432\nManfroni 629\nMantica HO\nMari 1258\nMariscotti 867\nMariscotti 342\nDi S. M. dell'Anima 598\nDe' PP. della Minerva 843\nMaruscelli 427\nMassimi 984\nMassimi alle Colonne 625\nMattei di Giove 1004\nMattei di Paganica 1006\nMattei di Paganica 997\nMedici 392\nMedici d.° di Madama 806\nMelchiorri 836\nMagnanelli 389\nMillini 288\nMinucci 475\nMolara 262\nDelle Monacbe di S. Anna 1163\nDelle Monacbe di Calvi 314\nDelle Monacbe di Campo Marzo 336\nDell'Antico Monte di Pieta 595\nMontecatini 320\nMontemarte B^7\nMoroni 1008\nDel Museo Capitolino 918\nMuti Bussi 91x\nMuti Papazzurri 289\nMuti Papazzurri 292\nMuti Sacchetti 877\nNari 789\nNari 823\nNegroni 199\nNegroni 1005\nNegroni 502\nDel Nero 567\nNiccolini 317\nNiccolini 547\nDella Congreg. de* Nobili al Gesh 996\nNunez 426\nNunez 870\nOlgiati 363\nOdescalco 284\nDella Casa degli Orfani 312\nOrsini 673\nOrigo 880\nOrnani 604\nOrsini 1022\nDell' Ospiz. Apost. D.° la Curia\nInnocenziani 339\nDell* Ospiz. Apost. Abitaz. di\nMonsigr Yicegerente 311\nOssoli 1167\nOtxoboni 351\nPalm a 822\nPalombara 345\nPanfili 169\nPanfili 332\nPanfili 607\nPanfili 853\nPanfili 852\nPanfili 854\nPannini 683\nPapi 271\nParaciani 276\nPassarini 148\nPatrizi 629\nPatrizi 1002\nPescatori 781\nPerucchi 378\nPetroni 001\nPetroni 900\nPianetti 172\nDell' Ereditk di Pietro da Oortona 916\nPighini 708\nPio 636\nPocavena 65\nPontificio a S. Gio. Laterano 6\nPontificio nel Quirinale 250\nScuderia Pontificia 254\nPontificio Yaticano 1287\nDelia Porta 419\nQuarantotto 457\nRaggi 055\nRavenna 63\nReali 170\nRocci 680\nRita 024\nRocci ora Spada 674\nDe Romania 610\nRondinini 043\nRondinini 483\nDelia Comp. del Rosario 228\nRospigliosi 173\nDe Rossi 652\nRuspoli 434\nRuspoli 985\nSacchetti 657\nSagripanti 629\no * r rxrk\nSala 693\nSeristori 1265\nSalviati 1227\nSampieri 631\nSantacroce 740\nSantacroce per la Eamiglia 741\nSantacroce 1013\nDelia Comp. di Sancta Sanctorum 821\nDelia Comp. di Sancta Sanctorum 614\nDelia Comp. di Sancta Sanctorum 898\nScarlatti 270\nDel Senatore di Roma 920\nSerlupi\nSerlupi 1019\nSforza Cesarini 669\nDe Signoribus 741\nSinibaldi 787\nSelvestri\nSpada 006\nSpada 670\nSpada j a CaP° (U Ferr° 716\nDelia Corona di Spagna 429\nSpinola\nDi S. Spirito Hf?\nStella 264\nStrozzi\nTanara 687\nTeodoli\nTesta Piccolomini 257\nDelia Relig. Teutonica 712\nTomati 086\nDelia Trinitk de' Pellegrini 421\nTrull i 627\nYaldina Cremona 439\nDi Yenezia *O3\nYerospi\nYerospi f5\nYidman ~ou\nYiscardi 899\nZuccari, Nazzari, Comp. dell'An-\nnunziata, e Luogo Pio d'Orfani 390\no PIAZZAS o\nDelPAgnello 648\nDelCAvila 689\nRarberina 214\nDel Biscione 637\nDelia Bocca della Yeritk 1087\nBorgbese 452\nDi Branca 742\nCampo di Eiore 638"}, {"page_pdf": 40, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.40", "texte": "Campo Marzo 438\nCampo Yaccino 927\nOaplzucchi 991\nCapranica 329\nDe Caprettari 791\nDelie Carrette 464\nDelle Carrette 87\nDi Catalone 1300\nDelia Catena 976\nDe' Cenci 749\nDella Chiavica di S. Lucia 668\nDe' Cimatori 648\nDel Cinque 1178\nDel Collegio Romano 846\nColorma 310\nDelia Colonna Traiana 113\nCostaguti 1012\nDella Crocetta 1145\nDi S. Eustachio 801\nFarnese con 2 Fontane 706\nDella Ferratella 945\nFiammetta 530\nDel Fico 591\nDi Firenze 442\nDePa Fontana Secca 1238\nDelia Fontanella 1043\nDelle Fornaci 1201\nDel Fosso 1280\nDelle Gensole 1102\nGiudea fuori Ghetto 1025\nGiudea dentro del Ghetto 1026\nDel Grillo 127\nLombarda 811\nDei Macelli 1028\nDi Macel di Corvi 112\nDe' Due Macelli 369\nMadama 805\nMargana 994\nDel Masclierino 1307\nMattei 1016\nMlgnanelli 388\nDella Minerva 842\nDe' Miracoli 486\nDi Molara 1100\nMontanara 974\nDi Monte Cavallo 252\nDi Monte Citorio 338\nDel Monte della Farina 761\nDi Monte di Fiore 1142\nDi Monte Giordano 581\nDel Monte di Piet& 724\nDi Monte d'oro 455\nDel Muro nnovo 1152\nDella FTavicella 943\nNavona 605\nNicosia 501\nDelP Oca 488\nDell' Olmo 1151\nDelP Olmo 887\nOtto Cantoni 465\nDella Pace 597\nPadella 663\nPrganica 1007\nPalomba 517\nDel Paradiso 630\nDe Pasquino 620\nPensile a S. Pietro Montorio 1188\nDi Pescaria 1023\nDi Pietra 315\nDella Pilotta 293\nDi Poli 240\nPaliaroli 639\nDi Ponte Sisto in Trastevere 1179\nDel Popolo 403\nDel Pozzo delle Cornacchie 827\nDe' Renzi 1175\nDe' Ricci 675\nRomana 1157\nRondinina 830\nRosa 305\nDella Rotonda 834\nDella Ruaccia 1172\nSannesia 1253\nDe' Satiri 633\nDi Scanderbech 246\nDi Sciarra 302\nDelle Scuole in Ghetto, 1209\nSerlupi 1018\nDi Sforza 568\nDi Sora 652\nDi Spada 718\nDi Spagna 395\nDegli Specchi 736\nStrozzi 881\nDella Saburra 154\nDi Termini 198\nDella Torretta 436\nTor Sanguigna 518\nTre Cannelle 263\nDelle 3 Cannelle in Ghetto 1033\nDi Trevi 243\nDelia Yalle 783\nDe' Yascellari 1114\nDelle Vaschette 1299\nDi Yenezia 906\nDo' Zingari 145\no HOSPITALS o\nDi S, AntonioAAbe per gli offesi\ndal fuoco 46\nDi S. Giacomo degli Incurabili per\nle donne 477\nPer gli Domini 478\nDi S. Giacomo dismesso 480\nDi S. Gio. Calibita do' Benfratelli 1094\nDi S. Gio Laterano per gli Domini 11\nPer le Donne 13\nDi S. Gio. sud,° dismesso. ora\nFenile 937\nDi S. M. e, Gallicano per gli Do-\nmini 1160\nPer le Donne 1161\nDi S. M. della consolazione per gli\nDomini 967\nPer le Donne 969\nDi S. M. di Loreto 275\nDi S. M. delP Orto 1123\nDi S. M. della Piet& de' Pazzi per\ngli Domini 1233\nPer le Donne 1234\nDi S. Rocco per gli Domini 470\nPer le Donne Partorienti 471\nPer i Sacerdoti a Ponte Sisto 731\nDi S. Spirito 1242 1243\nNATIONAL HOSPITALS\nDegli Aragonesi in S. M. di Mon-\nserrato 688\nDe' Bergamaschi in S. Bartolomeo,\ned Alessandro 316\nDe' Castigliani a S. Giacomo 606\nDe' Fiorentini a S. Gio. 549\nDe' Francesi a S. Luigi 809\nDe' Lucchesi a S. Croce e Bona-\nventura 256\nDe' Milanesi a S. Carlo al Cor*o 461\nDe* Portogbesi in S. Antonio 506\nDe' Schiavoni a S. Girolamo 459\nPer le Donne Tedesche 1273\nDe' Fornari Tedeschi 631\no STREETS o\nAlessandrina 79\nAnicia e Frangipana 1117\nDell'Arco della Ciambella 875\nArgentina 767\nDell'Armata 691\nDelP Babnino 399\nBaccina 134\nDe* Banebi 573\nBanchi Yecchi 566\nDe' Baullari 640\nBenedetta 1202\nDi Boccaleone 430\nBonella 98\nDi Borgo Angelico 1297\nDi Borgo Angelico 1202\nDi Borgo S. Angelo 1313\nDi Borgo nnovo 1247\nDi Borgo Pio 1301\nDi Borgo S. Spirito 1244\nDi Borgo Vecchio 1246\nDi Borgo Yittorio 1298\nBorgognona 428\nDel Boschetfco 166\nDelle Botteghe oscure 998\nDel Braccio 1270\nDel Campanile 1302\nDi Campo Carleo 122\nDi Campo Marzo 441\nDi Campo Santo 1269\nDe* Canestrari 798\nDi Campo di Ferro 717\nDelle Carrette 142\nDelle Carrette 1263\nDelle Carrozze 1044\nDelle Carrozze 417\nDelia Catena 714\nDelia Catena 1262\nCelsa 896\nCesarini 770\nDe' Chiavari 632\nDelle Chiavi d'Oro 102\nDelia Chiavica del Bufalo 235\nDelle Cinque Lune 812\nClementina 146\nDelle Colonnelle 466\nCondotti 422\nDe' Coronari 585\nDelia Coroncina 57\nDel Corso 433\nCremona, e Marmorella 101\nDelia Croce 416\nDelia Croce bianca 93\nDe' Falegnami 758\nFelice 23\nDelia Ferratella 2\nDelia Fiumara 1031\nDelle Fratte 1140\nFrattina 359\nFlorida 888\nGaetana 528\nDel Gambaro 354\nDi S. Giacomo gi& Via Massimi 1217\nDe' Gigli d' Oro 514\nDi S. Gio. de' Fiorentini 544\nGiulia 564\nDe' Giupponari 721\nDelle Grazie 964\nGraziosa 159\nDe' Greci 410\nGregoriana 387\nGregoriana ms\nDelia Salita del Grillo 129\nDel Grottino 460\nLaurina 405\nLeccosa 497\nDel Leoncino 435\nLeonina 139\nDelia Longara, 1208\nDel Macello 458\nDelia Malva 1106\nDi Marforio 108\nMargutta 397\nMarmorata 1072\nDe' Moroniti 229\nDelia Maschera d'oro 527\nDel Mattonato 1197\nDelle due Mole 1149\nDi Monserrato 682\nDi Monte Brianzo 509\nDi Monte Caprino 971\nDi Monte Oitorio 337\nDel Monte della Farina 762\nDi Monte Magnanapoli 118\nDi Monte Tarpeo 970\nDel Moretto 360\nDe' Morticelli 1135\nDelle Muratte 301\nDel Muro nnovo 1152\nNuova 245\nDell' Olmo 54\nOrsina 406\nDell' Or so 524\nPace 612\nDella Pallaccorda al Fico 588\nDelia Palombella 790\nDi Panico 577\nPaolina 52\nPaolina 370\nDel Paradise 628"}, {"page_pdf": 41, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.41", "texte": "Paradisi 151\nDi Parione 653\nDel Pellegrino 649\nDi Pescaria 1029\nDe' Pettinari 728\nDi Pie' di Marmo 845\nDelia Pilotta 282\nDel Pinaco 813\nPontefici 473\nDi Porta Leone 1042\nDel Priorato 99\nDelia Purificazione 379\nQuattro Capi 1035\nRasella 220\nDi Rigina Coeli 1222\nDelia Regola 745\nDe' Riari 1213\nDelle Rimesse 1141\nDi Ripetta 494\nDelia Rua 1027\nSalara Antica 383\nDelia Salara 1080\nDelia Salara Yeccbia 82\nDe' Salnmi 1111\nScaccia 1282\nDelia Scala 1181\nDi Schiavonia 463\nDelia Scrofa 817\nDe' Sediari, e Taccari 797\nDe' Sediari 414\nDelia Serena 420\nDe' Serpenti 141\nDelia Salita di Sforza 160\nDelle Sette Sale 34\nDi S. Sisto Yecchio 951\nDel Sole 84\nDi Spagna 1219\nDe' Sugarari 976\nDi Testa Spaccata 107\nDi Tor de' Conti 91\nDi Tor de' Specchi 980\nDe' Yascellari 1109\nDelia Yalle 779\nDelle Yergini 298\nDi S. Yitale 183\nDelia Yite 358\nVittoria 413\nDell'TTmilU 291\nTJrbana 152\no TOWERS o\nArgentina 773\nCantarelli 159\nOartularia de' Frangipani 933\nDi Casa Colonna 265\nDel Collegio Clementino 500\nNel Conservat. de' SS. Quattro 938\nDe' Conti 86\nNella Dogana della Grascia 926\nGaetana aS. Bartolomeo all'lsola 1098\nDel Grillo 128\nDi S. Lorenzo in Paneperna dentro\nI'orto 165\nDi S. Lucia in Selci nel Monast. 59\nMargana 996\nMillina 610\nDelle Milizie 130\nOttoboni 351\nPersiani 886\nDella S. Casa di Loreto 1158\nSanta Croce 1013\nSanguigna 518\nDe Specchi 980\nStefanoni 143\no VICOLI (ALLEYS) o\nDell'Ab.e Luigi 776\nDell'Agnello 542\nDell'Agnello detto Scelerato 68\nDell'Albergo de' Marchegiani 803\nD'Alibert 1224\nDell'Aquila 641\nDell'Arcaccio . 1155\nDell'Archetto 319\nD'Ascanio 443\nDegl'Avignonesi 222\nDel Babuccio 248\nDe' Balestrari 719\nDelle Boccie 1103\nDel Bologna 1180\nDel Borghetto 400\nDi Bucimazza 1045\nDel Bnco 1147\nDelia Bufola 973\nDi Cacciabove 308\nDi Calabraga 659\nDelia Campana 505\nDel Canale 1124\nDel Canestraro 1198\nDei Capellari 685\nDelia Oaprareccia 163\nDe' Carbonari 104\nDel Cardello 69\nDe' Cartari 658\nDe' Cenci 752\nDe' Cesarini 889\nDe' Ceatari 872\nDi Ciancaleone 150\nDi Cimarra 147\nDe' Cimatori 554\nDel Cinque 1178\nDel Cipresso 1177\nDelle Colonnelle 335\nDelia Colonna 212\nDe' Colonnesi 268\nDel Coral]o 590\nDelia Crociata 1148\nDelia Cuccagna 622\nDel Falcone 210\nDel Farinone 1305\nDe' Fenili 965\nDelia Fontanel!a 1043\nDei Frati 1316\nDei Prati 1112\nDelia Fiezza 474\nDelia Frusta 1185\nDel Gallinaccio 227\nDel Gallo 707\nDel Gambaro 431\nDelia Gatta 858\nDelia Gatta 583\nDel Govern o 654\nDe' Granari 617\nDel Grancio 543\nDelia Greca 1085\nDelle Grotte 720\nDegl' Ibernesi 125\nDell' Inferno 485\nDell' Isola 1097\nDel Lauro 83\nDel Leoncino 507\nDel Leoncino 1183\nDel Leoncino 1266\nDe Leutari 644\nDelia Lunetta 689\nDelia Lnpa 449\nDi Madonna Lucrezia 904\nDel Masclierino 1306\nDe' Materielani 810\nDe' Matericiani 534\nDe' Mazzarini 171\nDel Melone 796\nDel Merangolo 237\nDel Merangolo 454\nDel Merangolo 1184\nDel Merangolo 747\nDe' Miracoli 487\nDelle Mole 952\nDelia Moletta 1095\nDi Monte Polacco 63\nDi Montorio 687\nDelia Moretta 669\nDel Moro 1174\nDe* Moroni 1205\nDe' Rari 788\nD' Orfeo 1303\nDell' Oro 551\nDelle Palle 556\nDelle Palle 1304\nDelia Palma 223\nDelia Palma 538\nDelia Palma 1113\nDelia Palombella 513\nDel Pavone 571\nDe' Pastini 326\nDelia Pedacchia 915\nDel Pelliccia 1176\nDelia Penna 489\nDelia Pergola 467\nDel Pernicone 88\nDel Perugino 1268\nDel Piombo 280\nDe' Polacebi 1000\nDe' Pozzi 78\nDel Pozzo 307\nDel Pozzo 1162\nDel Pozzolo 77\nDelia Reneila 1173\nDe' Riari 1209\nDi Rninaglia 161\nDi Sacchetti 1153\nDel Sambueo 144\nDe' Saponari 972\nDi Savelli 650\nDi Savelli 1034\nDelle Scalette 490\nDelle Scalette 1215\nDello Scalone 1275\nDi Scanderbech 246\nDelia Scarpetta 1105\nDelia Scimia 563\nDe' Sediari 744\nDelia Serpe 1071\nDe' Soldati 520\nDel Sole 602\nDelia Spada d' Orlando 327\nDe' Spagnuoli 819\nDelia Stella 1150\nDello Struzzo 676\nDe Taroli 116\nDelle Telline 545\nDelia Torre 1032\nDelia Yaccarella 820\nDel Vantaggio 482\nDe' Veseellari 1115\nDe' Vecchiarelli 537\nDe' Yenti 711\nDel Yillano 1317\nDelia Yolpe 601\nDe' Zucchelli 371\nTHE AUTHOR'S NOTIFICATION.\nTHE modern buildings are indicated by lighter and finer lines.\nThe deeper and darker outlines indicate the ancient buildings which are\nstill standing.\nThe dotted lines show those parts of the ancient buildings which have\nbeen pulled down, but which had already been delineated by others while\nthey were still in existence.\nThe dotted lines which pass across the streets denote the confines of\nthe Rioni (or Quarters).\nThe names of the Rioni which are written and the lines which are\nmarked in the margins of the sheets serve solely to facilitate the fitting together\nof the same."}, {"page_pdf": 42, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.42", "texte": "EXPLANATION OF SOME LETTERS\nOF THE INDEXES AND SIGNS SEEN IN THE PLAN.\nT. C. Titolo Cardinalizio.\nD. C. Diaconia Cardinalizia.\nAN APPRECIATION OF NOLL'IS PLAN.\nWe have pleasure in printing below\nthe translation of a letter re-\nceived from the Superintendent of ihe\nState Archives of Roma, written upon\nreceiving a copy oj ihe January number\nof \" The Mask containing the\nreproduction of Nolli Plan. Ed.\n\" T thank you heartily for the very\nA welcome arrival of Nolli's beautiful\nplan, which, in the eighteenth century,\nso worthily opens the series of plani-\nmetric plans of Roma.\nThe cartography of the city already\npossesses here in Roma various illustra-\ntive works of worth, such as those of De\nRossi, Rocchi and Cardinal Ehrle:\nbut none, save for the example given,\nexquisitely as always, by Di Gnoli,\nreaches beyond the first half of the\nseventeenth century, nor gives the picture\nof that Papal Roma which is more\nfamiliar to us, and which was the one\nknown by a Stendhal, a Chateaubriand,\na Goethe.\nNolli's Plan, at once so precise and\nso picturesque, gives us the image of\nthat Roma, the Roma of Benedetto XIV;\nand hearty thanks are therefore due to\nyou for having provided for the filling\nof so deplorable a vacuum, and for\nhaving furnished so secure a guide in\nthe world of the past for retrospective\npilgrims of Yaurea Roma.\nWith renewed thanks,\nEugenio Casanova.\nOther appreciative letters have reached\nus, such as that from the from other\nscholars, such as Superintendents of the\nRegia Biblioteca of Torino and Modena,\nand the Superintendent of the Royal\nArchives of Bologna, who adds the\ninformation that this reproduced plan\nis of especial value and interest in that\ncity since it was dedicated by its\nauthor to the Bolognese Pope, Bene-\ndetto XIV.\n\nCemetaries.\n\nFountains.\n\nUncovered opening of Conduits.\n\nQuarters of the Soldiers.\n\nGates now closed that are to be seen in the walls of Roma.\n\nConduits of which the outlet is covered."}, {"page_pdf": 43, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.43", "texte": "ARTISTS AND INTERPRETERS\nX. Y. Z.\nAN interesting note upon the late\nLeon Bakst in the 44 Observer \"\nJan. 4, / 925 caught my eye the other\nday and I give it here because it raises\na rather curious question.\n44 A small point, that is nevertheless\n44 an important point with the designer\n44 of costumes, seems to have been\n44 overlooked in many of the obituaries\n4i of the Russian Artist, Leon Bakst*\n44 Bakst was not only an artist but also-\n-44 a workman. In scenic and costume\n44 designs he knew both the general\n\" effect he wanted and the exact means\n44 of obtaining it, A drawing for a\n44 dress by Bakst —sumptuous and beau-\n-44 tiful picture as it often made—ai-\n-44 ways remained a working drawing:\n44 of the precise dress that Bakst in-\n-44 tended, something that a workman\n44 could understand and cut from. In\n44 the day of amateurs, when a cos-\n-44 tume design is often a pretty picture\n44 first of all—a sketch for an idea o£\n4 * a dress, leaving all the real problems\n44 to be solved by the cutter out\n44 this thoroughness and workmanlike-\n-44 ness was remarkable.... A glimpse a£\n44 the colour-notes that Derain made for\n44 the charming 44 Boutique\n44 dresses, shows how much Derain owed.\n44 to the cleverness (even the inventive-\n-44 ness) of the workmen who trans~\n44 lated them into material.\n44 too good a workman to leave any mar-*\n44 gin for the 44 inventiveness \" of other\n44 people carrying out his designs \".\nThis is all quite sound and* I am\namong those who do not want too many\nn pretty picture\" artists in a theatre..\nFor these pretty nobodies are somewhat\nof a nuisance. Already too many of\nthem have stowed themselves away in\nthe new movement.\nThe International Exhibition of New\nTheatre Technique held in Vienna in\n1924 offered us only too many such\nvanities. Anything less technical could\nnot possibly be produced* Anyone\nwho possesses a copy of the illustrated\ncatalogue of that exhibition,, can turn\nfor himself to page 7, where he will\nfind two Figurinen by F. Leger which\nwould cause quite enough trouble all\nround. On page 42 is another such\nFigurine, this one is by George\nGrosz: and another by the same de-\nsigner on page 43. Awfully clever,\nthey may be : but far too troublesome.\nOn page 55 we come to a couple of\ntrifles by Oskar Schlemmer which,\nmight give a first-class cutter and hi&\nassistants five days unnecessary labour\nand cause some pain to the spectators-\nafterwards. Then Herr Exter's little:\nnotion on page 68 is not exactly en-\ncouraging..*. and four affairs on page 73-\nwould, I fear, depress the staff, though\nit would not convulse it as would the-\nterror on page 80. Takuloff did that.\nBut these things would not only be\nttroublesome to the technical men be-\ncause all the difficulties had been shir-\nked by the disdainful designer, but be-\ncause they are worthless things*\nNow suppose we take a design for\na costume of great worth by a very\nfamous designer,,... one by Inigo Jones\n(1573-1652); and suppose that this\ntoo is drawn without any indication\n- the cutter needs ; are we to throw that\naway too as useless. And are we to\ndamn the whole system ?\nLet us first look a little more care-\nfully into the methods of those older\ndays. Doing so we find that as soon\nas Inigo has drawn a brilliant sketch\nof a costume he passes it on to the first\ninterpreter. And this is not, as might\nbe supposed, the cutter or the tailor.\nIt is another designer.\nWhat does this man do? Does\nhe interpret freely, changing here and\n*tjhere as he goes along as a protest\n-agaijist Inigo's genius ? Not a bit of it.\nHe positively makes an effort.\nNow this is almost unbelievable. Yet\nthat is precisely what he does.\nHe makes an effort to redraw it\nline for line, ,cuff, buttons, doublet,\nlaces, knots, skirt linings, all as Inigo\nhas done ; only he makes each item\nclearer as a fact and divests it of all\nits fancy, its charm, as a drawing. He\npositively interprets faithfully and well.\nI am by no means opposed to the\nopinion expressed by the writer in the\n*4 Observer \" paragraph; but we must\nlay down no hard and fasj law about\nanything of this kind.\nWhile 1 think it might be good for\nteyery costume designer to learn to cut#\nsfitch, pin, chalk, and generally act the\nyou've lost your Inigo Jones at\nonce, M you make it anything like a law.\nA far wiser thing to do is to train\nAnd I know no better\nexamples,to guiifo such interpreters than\nffe copies which exist in the superb\nvokme of the works of Inigo Jones\nJately issued by the Clarendon Press.\nWku but half an eye you can\nsee ?there the whole process, and it is\na process which could easily be learnt.\nAll ihat is required is very long prac-\ntice, continued exercise as copyist, and\nno fights of fancy ; absolutely no 44 in-\nventiveness \\. Therefore a superb trai-\nning for beginners who have some talent.\nSome of you may perhaps agree with\nime that the beginners start exhibiting\nin galleries and showing off in journals a\nTittle too soon. What would you have ?\n■Put them to work as interpreters, —as\ncopyists —as the go-between twixt tailor\nand artist, and perhaps a big and trou-\nblesome problem has been solved.\nThis is perhaps what is being done\nmo wad ays in several theatres but ft is\nrmst done well enough. Their copyists\n■fihwve not clever enough eyes. They\neight or ten out of twenty points.\nfTo sum up : while the Bakst me-\nthod is first class, the Inigo Jones me-\nthod is probably more valuable to the\ntheatre, for it provides a training school\niin the wardrobe for the student, it\nhelps the tailor and cutter immediately,\ncand rids us of those silly exhibitions of\n(sawkish calf-work which are beginning\n4o grow into a nuisance."}, {"page_pdf": 44, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.44", "texte": "FOREIGN NOTES.\n\nONCE ST. PETERSBERG.\nCOME delightful pictures of Isadora Duncan's immense\nschool of the Dance, at last permanently founded (at\nleast so we pray) in the city which we always remember\nas St Petersberg, recently appeared in 44 Commoedia\nParis. As head instructress of these pupils, some thousand\nto guess from the crowd of Jeunes filles on the banks of\nthe stream in picture b, stands Irma Duncan.\n\"What, a daughter ? Bless your heart no and yes.\nShe was once upon a time a little German girl in the\nmost middle-class surroundings in the town of Hamburg\n( I think) ; worked as she works now, faithfully and well,\nonly perhaps without ever having seen a theatre or the\nbig world or heard music. Now she has seen all; and,\nremaining faithful and working well, is not altered, ....\nonly happier. Was it not worth it all ?\nAnd there are some odd folk battling all their lives to\nprevent the spread of the dance, the theatre, and all\nwhich is happy, believing that all which is grey and pinched\nis better for their souls.\nA hundred times better if they have no fidelity and\nare merely farthing egoists.\nBut even if this great dancer only found one being\nworth its freedom it was well done to have let loose a\nhundred to their destruction. That is what still has to\nbe learnt by some people. So, brava Irma.\nAs a matter of fact, out of a hundred pupils 1 believe\nJsaaora Duncan can count as many as five successes,,, ana\nI think that is a triumph.\n\nPARIS\nAT the Vaudeville Madame Ida Rubinstein was recently\n** again playing 44 La Dame aux Camillas \" in her ori-\nginal way. She advertised the scenes, costumes and furniture\nas : 44 Decors and costumes of tne period from the designs of\nM. Alexandre Benois. Furniture and accessories are real\nworks of art loaned by private New stage\nsetting by M. Armand Bour. n\nWhich rec&lls to me a passage fr<om that little known\nbook by Mr Gordon Craig, i 4 The Theatre Advancing\nin which tie contrasts a permanent antd a temporary theatre,\nand speaks of the sham properties of the ordinary play-\nhouse as being excellent for a theatne which has no ambi-\ntion to endure,\nMadame Rubenstein possibly feels that real works of\nart (even though but loaned for the occasion) render her\nVaudeville one of the first permanent Theatres, But alas,\nthis is not all we look for in the way? of permanence.\nThe Vaudeville Theatre itself i& i a temporary play-\nhouse judged by the standards of 4 4 The Theatre Advan-\ncing and the play, 41 La Dame aux Camelias \" a play\nfor a few days.\nNotions of permanence are curiously ephemeral nowa-\ndays ; still, a pose of permanence should deceive for a\nmoment. What could be more charming, and who could\nconvince us better than Madame Rubenstein.\n\nMONZA - THE PALAZZO RE ALE.\no BIRDS AND ANIMALS. o\nVISITING this old house of the Kings, recently given\nby the reigning King of Italy to the Nation, I was a\nlittle surprised to find it swarming with artists and craftsmen.\nI have heard here and there (in Paris and London\n1 for instance) quite a few people who speak ill of Italy\nwhen its modern arts are under discussion. \" The Italians\ndo nothing for their artists\" is the cry, taken up by\n\" i here are no Italian artists to do anything for\nAnd then back comes the group to their dear little\nselves. France is this and that, America the other, and\nEngland—a hush falls, a voice speaks coldly, firmly,\n\" England devotes considerable time and thought to the\nconsideration, the encouragement and the support of its art\nand its artists \".... And the stance breaks up.\nAs a matter of fact on getting to Monza and seeing\nthe activities in the Villa Reale—an immense palace at\nthe service of the artists—another palace (one near London)\npopped up before my mind's eye and refused to quit. This\nvision was Hampton Court Palace. And a tiny voice a\nmy mind's ear kept crying out, \" There's Hampton Court.\n—The very place for English artists.—Is it theirs, my boy,\nis it theirs ? *\\ I was quite annoyed at my own mind\nbehaving in this way. \" Will you keep quiet and allow\nme to forget a few things \", I urged : but instead of that\nmy eye and my ear were annoying me for the whole of\nthat day, during all of this delightful visit to the\nMonza Palace, by a whispering and a string of Cinemato-\ngraphic dissolving views of the great empty Palaces of\nEngland, and \" There's a place ....this Vanburgh palace \",\nor \" look here, what about this one ? \".\nIt was annoying because it was unreasonable. The\nowners of the Vanburgh buildings need a little room ror\nthemselves, dash it all: and if not for themselves, an occa-\nsional ruin looks so picturesque even in Northumberland.\nWarwick Castle without its Americans, what would it be\nlike, I ask ? Anyhow Monza is for the artists. I was\ntaken to see it by the delightful Signor Fracchia and his\nfriends Signor Caisini and Signor Valentini. Fracchia as\nyou know is the able editor of \" Comoedia \" ; but more\nthan this, he is a charming fellow.\nBefore visiting the Palace Signor Caisini said we\nmust all go to see the divine fresco in the cathedral.\nIt wasn't merely a fresco, it was all that is perfect.\nThere around us was a music, not heard on sea or land,\nrunning up and down the walls: ....do not please ima-\ngine I exaggerate. All desire to see the Palace walked\nquietly away (what seemly behaviour) as my eyes ran up\nand down the walls of the Cathedral.\nMy friends were here more charming than ever before,\nand I shall always remember them in that chapel.\nThis is possibly sentimentality. It may be : how can.\none explain it ? But Hampton Court\nTHE AVERAGE FEE FOR A THREE ACT\nPLAY IS FIVE POUNDS PER PERFORMANCE.\nMonica Ewer in. *' Play Production for Everyone"}, {"page_pdf": 45, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.45", "texte": "BOOK REVIEWS\n\nAN INTRODUCTION TO DRA-\nMATIC THEORY hy Allardyce\nNicoll M. A. Harrap & Co. 5/-.\nA particularly well printed book of\n218 pages, the paper of which\nis good instead of cheap and nasty.\nWhy I speak of this first is that it is\ntime some other celebrated firms stop-\nped using paper horrible both to look\nat and to touch. A book reviewed re-\ncent iy in these pages has but 181 pages,\ncosts 7/6, and a badly made paper\nhas been used.\nThat is what we would call 44 disho-\nnest \" if living under a Fascist go-\nvernment ; but which here we will\nmerely call ungenerous of the publishers,\nwho might take a lesson from George\nHarrap & Co.\nDr Nicoll's essay is, it goes with-\nout saying, a serious good piece of\nwork; but I wonder if the author in-\nterprets aright the reasons why we laugh\nat comedy and why our pity is arou-\nsed by tragedy. We laugh, he says,\nbecause we are liberated by comedy\nfrom the ties and conventions of so-\nciety. If so, then everyone sees every\ncomic thing alike, and laughs the same\nlaugh at each, whereas this cannot\nsurely be the case.\nWhen speaking of Tragedy he takes\nOthello as an example of a figure we do\nnot sympathise with \" to the extent of\nfeeling pity \" for him. Well, I must\nsay that I do. And I fail to see what\nShakespeare was about, that he failed\nto touch the sense of pity in Mr Ni-\ncoll. But that he and the other dra-\nmatists have tempted Mr Nicoll to\nwrite a book of Theory on this so dif-\nficult subject, is not at all a triumph\neither for Tragedy or Comedy. We\ncan neither laugh at nor pity our au-\nthor : rather do we (without asking\nleave of delightful Miss Ashwell) pity\nourselves and others like ourselves, who\nare placed in the comic position of\nhaving to review so learned a book\nwithout a very long time to digest it pro-\nperly. Thus wre see that the comic some-\ntimes can call forth pity and not\nalone self-phy, though to pity anything\nwe must, alas, first have recognized\nourselves in that which we pity.\nYes, to write a book about Co-\nmedy and Tragedy is to write the hi-\nstory of the world ; can it be dene in\n218 pages ? would not 28 pages be\nenough ?... and is it not in 28 pages\nthat the fine poet does write his hi-\nstory of the world, and is not that the\nfull sum of all that can be said upon\nTragedy and Comedy?\nBut Mr Nicoll means Tragedy and\nComedy, as set forth in Tragedies and\nComedies for a stage. 7 hen 4 tis an\nimpossible subject. A book on one\nplay, one Tragedy or one Comedy,\nwould suffice to tax anyone but Aris-\ntotle, and Aristotle was, as A. B. W.\none day pointed out to G. B. S. at\nthe Garrick Club, only intended to\nbe read in manuscript by a few.\n\nSONS OF JACOB, a Play by J.\nRainis. Translated by Grace Rhys.\nDent & Sons Ltd. 10/ 6 net.\nJ Rainis is a Latvian poet and play-\n• wright. Latvia is that part of Nor-\nthern Europe which lies between\nPrussia and Russia, Finland and Swe-\nden. It is washed by the Baltic Sea.\nThis play has been performed with\nsuccess in Riga, the Latvian capital,\nhas been translated into many Euro-\npean tongues, and now into English.\nIt is a powerful thing, and, well\nacted, could not fail to do good, which\nfrom our English point of view may\nseem to be its most useful purpose.\nIt is not a pleasant play ; the specta-\ncle of Levi and his brothers gashing\nyoung Joseph with thorns to relieve\nsome thirsty Hebraic feelings, is not a\ntragic spectacle; it is not comic either ; I\ndo not think I particularly like it. If\nwe must be lurid I prefer, for this our\nEnglish climate, the more ordinary stage\nspectacle of a young gentleman apolo-\ngizing to our east-end loafer for ha-\nving inadvertently made use of the\nword damn.\nThe play has something grand in\nits last two acts, but they seem to be\ntoo long. An unfortunate thing about\nthe principal role is that it needs two\nactors ; one for the first act, another\nfor the last. Joseph, and whoever acts\nhim, in Act I is to be 44 seventeen\nyears old \" ; in Acts 3, 4, and 5 he,\nand whoever acts him, is 44 about thirty\nyears old \". For two different men\nto have to perform the part would\nbe fatal. Yet suppose we ask a\nyoung actor of fifty-six to play the\npart, (no one younger than fifty-sixt or\nfifty-five, would be trusted with it\non the English stage), he will be\nable to get through the last three\nactst but he will not look the first\ntwo. If we are rash, and give the part\nto a younger man he will look the\nfirst two acts and do nothing more.\nYet an author, if he deal with this\nold tale, must show us Joseph young\nand Joseph old. I conclude that it is,\nfor this reason, one of those tales which\ndo not stand stage treatment.\nThe translator seems to have done\nher work amazingly well: for to tran-\nslate even a text book from Latvian\ninto English must be very difficult, and\nto translate a play must be almost\nimpossible.\nPersonally I have no taste in plays\nwhich have the slightest touch of pro-\npaganda in them ; and, while I may be\ngreatly mistaken, I take this to be a\npropaganda play.\nIt is a well-printed book, well bound,\nand a cheap five shillings' worth;\nand it will give pleasure to those who\ncannot comprehend the Bible. I am a\nreader of the Old Testament because\n1 find it thrilling, pictorial, musical, pro-\nfound and gay ; and above all REAL.\nSo real that, when any modern writer\nattempts to re-do a bit of it here, a\nbit there, he transforms it into something\nquite false.\nThat being what many people like,...\nfor the modern world loves flirting\nwith a masterpiece... I think they will\nenjoy this pla).\n\nA PRIMER OF MODERN ART\nhy Sheldon Cheney. Boni & Liverighi,\nNew York.\nWILL anyone burn a book or a\ncity because 298 of the virtues\nare not to be found therein? So long\nas two or even one of the best are\nthere, what matter the rest.\nIn Cheney's book are plenty of\nfaults, but he has given me one hun-\ndred and seventy five illustrations, mostly\nby the best of the best artists of the\nday or yesterday.\nI was reading Meier-Grafe's book\non Van Gogh, a book from which I'd\nhave cut away a hundred pages at the\nbeginning, reducing them to a few plain\nfacts readable in twenty pages so as to\nmake it one of the great 44 Lives \"\nof the age: and in the book I came\nacross Seurat's name, and, not knowing\nwhat Seurat's work was at all like, I\nfound an example in this Cheney book.\nAnd there are one hundred and se-\nventy four other designs for those who\nare not experts and who want to see\nwhat the names Gauguin, Matisse,\nCezanne, Brancusi or Picasso signify."}, {"page_pdf": 46, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.46", "texte": "I ought to know what these names\nmean, but I don't: and one ought to\nknow how to spell these names, but one\ndoesn't always know how even to spell\nsimple words like Xylograph and Man-\ndolin.\nSo then surely nothing can ever be\nvery wrong with such a book if in it\nwe can find a true if a primary\nvalue, ie, a use for it. And Cheney's\nbook has a use, for me, and I do not\ndoubt that it has several uses for others.\nBesides this the author has included\nthe theatre in this book on 44 the re-\nnewed life in painting, sculpture and\narchitecture \" ; and while some of us\nstill think it too early for any such\nhonour of that kind, it is not possible\nfor us to be blind to the compliment.\nIn his Preface he disavows the inten-\ntion of posing as a big Idol of a critic,\nand suggests that his book is a little\nPrimer. I have enjoyed the primer,\nand I know I shall often refer to it\nwhen ever in doubt about a fact.\n\nA HISTORY OF THE THEATRE\nIN AMERICA, hy Arthur Hornbldw.\n2 Vols. Lippincott & Co. $ /0.00\nTHE copy I have was not sent for\nreview, but I wish to make a\nbrief mention of the work because it\nis full of interest to the student of\nTheatrical History, and valuable. Many\nan excellent print or drawing is repro-\nduced of theatres, actors, managers,\ndancers.\nThere are omissions : — the va-\nluable testimony to the worth of the\nNew York Theatres in 1850-60 or\nthereabouts ; the author's note on Ir-\nving's visit; his experience of the\nTheatres of the Southern States,...\nthese things ought not to have been\nleft out. The view of so celebrated\na Theatre as the Old Bowery deserved\na full page plate, if not two, and a\nview of the interior surely exists.\nBut the book is just what is wanted,\nand it will be of assistence to anyone\nwho wishes later on to make a larger\nbook on this interesting subject.\n\nELEONORA DUSE: The Story\nof her Life, by Jeanne Bordeux.\nHutchinson & Co. 2 //- net.\nIN her Preface the writer tells us that\nshe took three months 44 compiling\nand writing \" this story of the life of\nEleonora Duse; and considering how\nfew days can be squeezed into three\nmonths it will be admitted by every\nserious writer; that, to do anything at\nall in so short a time, is little short of\nmarvellous.\nThe other kind of writer ....the su-\nperficial thinker and the slipshod re-\ncorder.... will not agree with us. He\nwill say that he considers ninety days\nlong enough time to concoct any really\nchatty 44 Life \". And one had forgot-\nten, for the moment, that it is a really\nchatty book that is wanted today.\nMiss Bordeux, (who is neither Ita-\nlian nor French), evidently doesn't forget\nthis, yet goes bravely on; with the\nresult that, if she is not almost a failure\nhere and there, she does succeed in\ngetting it all done in time.\nWhile she wrote the book on Duse,\nshe says, she 44 absolutely lived and\nsuffered with her \" and her 44 vast\nadmiration \" became 44 a reverent love\nand she adds that 44 no one in the\nworld ever succeeded in knowing her\nas I did \". (She met her for the first\ntime in October 1922. Duse died\nApril 1924). Whilst Madame Duse's\nfriends all seem to have seen the\ngreat actress in different lights she\nalone appears to have seen her 44 in all\nthose lights merged into one \". Un-\nfortunately the light was low now and\nagain when she was reading up the\nfacts and so she reports too many of\nthem incorrectly. But what can you\nin three months.\nAnd some of the names are so\noddly spelt. Instead of the celebrated\nMenzel we have the unknown 44 Mer-\nzel \" twice on one page : famous Be-\nno zzo Gozzoli becomes ignoto 44 Be-\nnazzo Gozzolin \" ; Matilda Serao be-\ncomes 44 Matilde Sarao \" : Giulio be-\ncomes 44 Guilio \" and Tommaso Sal-\nvini becomes 44 Tomasso Salvini \".\nLuigi Rasi is 44 the greatest young\nactor in Italy \" in 1899. Well. Duse\nin 1906 44 gave a performance at\nDrury Lane for the celebration of El-\nlen Terry's Jubilee\". But did she?\nSee Ellen Terry's 4' Memoirs\". An\nincident about a 4 4 broken bridge \" on\npage 211 is an invention.\nOn the other hand the writer cor-\nrects a few serious errors of the uni-\nnitiated.\nTo the report being 44 repeated on\nall sides \" that 44 D'Annunzio has\nabandoned her '* she says that 44 only a\nperson who had not known Eleonora\nDuse could believe that that was true\"....\n44 Eleonora Duse's love for D'Annunzio\nwas a consuming passion; she was jealous\nto the point of depravity—making his\nlife insupportable \".... 44 No, Eleonora\nDuse was not a victim : if there was\na victim in the case it was Gabriele\nD'Annunzio, and she .... for years\nmade his life insupportable by her con-\ntinual unreasonable jealousy \".\n44 My vast admiration for Duse has\nbecome a reverent love \" she has said\nin her preface.\n44 II Fuoco the book in which\nthe poet has made Eleonora Duse\ncome to life (and to a most noble\nlife) she says was published against\nthe wish of Eleonora Duse, and adds\nthat the story was 44 too evident, too\nblatant, too unmanly \".\nShe does not feel that D'Annunzio\nfound the right words to express the\nactress when at their first meeting he\ncalled her 44 Grande Amatrice \" (writ-\nten 44 Grand Amatrice\" on another\npage) ; 44 how much more worthy of\nher it would have been to have said\n44 fervid animator \". I don't know\nwhat you feel about this, but is it per-\nmissible to improve on the great, even,\nif in doing so, one misses a point ?\nThe passage I like best in the book\nis that which refers to a Roman gent-\nleman, Conte Giuseppe Primoli. Asked\nto supply 44 information \" for this work\nhe replied, 44 Much as 1 should like\nto help you, of the intimate life of\nEleonora Duse I can tell you nothing\nas it was her great wish that what was\nprivate remain private \".\nI am a hardened journalist who has\nserved his ten years in Fleet Street\nand been around the world for ano-\nther twelve, but must confess that had\nI been employed to write this book on\nthe lady we all so well remember, and\nhad I received this reply from Conte\nPrimoli, I think I would have put\ndown my pen, stopped the work, and\nout of admiration for her, let alone\n44 reverent love \", I would have satis-\nfied her 64 greatest wish \" by not pub-\nlishing \"this chatty book.\nBut the argument of gold is power-\nful, and as paltry as it is powerful.\n\nSHAKESPEARE'S HAND IN\nTHE PLAY OF SIR THOMAS\nMORE.\nPapers by Alfred W. Pollard, W.\nW. Greg, E. Maunde Thompson,\n/. Dover Wilson and R. W. Cham-\nbers. With the text of the III May\nDay scenes Edited by W. W. Greg.\nCambridge University Press. 10/- net.\nTHIS book is the second of a se-\nries entitled Shafcespeares Pro-\nblems which Professor A. W. Pollard\nand Mr J Dover Wilson are editing,\nand its object is to strengthen the evi-\ndence that Shakespeare wrote three\npages which form part of the play of\nSir Thomas More. Papers have been\ncontributed by Dr W. W. Greg, Sir\nE. Maunde Thompson aud Dr R. W.\nChambers, as well as by the editors.\nIt is absorbingly interesting, but I"}, {"page_pdf": 47, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.47", "texte": "do not find that the three Shakespea-\nrean pages are particularly brilliant,\n1 find nothing in them which convin-\nces me unmistakably of the presence\nof that spirit we call Shakespeare.\nI am not moved.\nThis test is of course no test, so\nwhat other test is wo th a tinker's tin.\nBut no Shakespearean Library can be\ncomplete without this volume; and,\nsince it is a volume charmingly prin-\nted and excellently bound in fine red\ncloth, its back will lighten up the book\nshelf and the contents a careful rea-\nder's mind.\n\nTHE CONTEMPORARY DRA-\nMA OF RUSSIA by Prof\\ Leo Wie-\nner. Little Brown & Co. Boston.\nU. S. A $2.50.\nTHERE is no history of the con-\ntemporary Russian Drama in exi-\nstence, either in Russia or abroad\".\nWith these two lines the book begins.\nAnd it is a book which I have read\nwith much pleasure, and a good deal\nof instruction.\nHarvard University is to be congra-\ntulated on having a scholar like Prof.\nWiener who troubles about the Drama\nand the Theatre ; ....for, when all has\nbeen said against Dramatics and Thea-\ntricals, they do help to make life a\nlittle happier for as many of us as\ncare to read, or visit a playhouse\nThe one obvious fault of the book\nI would skip over as quicky as pos-\nsible, for it is a very human fault.\nIts author exaggerates in attributing\ntoo much to German influence. The\ndevelopments of the Russian stage on\nsuper-realistic and symbolical principles\nhave, he says, turned out to be 44 pale\nthough bold imitations of ill-understood\nGerman fads; and the Moscow Art\nTheatre, the Kamerny, Evr&nov's Mo-\nnodrama, stripped of the claptrap of\nnovelty, are thus reduced to very mo-\ndest proportions n. This passage makes\nme wonder whether Dr Wiener has\never been to Russia and ever seen\nthese Theatres at work. As I read\non I greatly doubt it.\nHe admits having found 44 the Wi-\ndener Library at Harvard University\nand the Congressional Library at Wa-\nshington so useful that 44 it was pos-\nsible to reconstruct the chronological\nsequence of dramatic events This\nwould inspire confidence in every stu-\ndent were the book free of all opi-\nnions, were it a purely historical\nwork\nBut when he hazards everything in\na quite unnecessary attempt to belittle\nmany of the best theatre men so as\nto prove that it was the Germans who\nhad a receipt straight from a slot-ma-\nchine HOW to inspire Europe in\nTheatrical things, then I am obliged\nto withdraw all trust in that side of\nthe book.\nWhich leaves me all the happier to\nenjoy to the full the first class account\nof how the Russian Drama was born,\ndeveloped, and all about Gogol and\nPoushkin, Griboyedov, Oslrovski and\nthe other brilliant dramatists of that\nplace in the north, which can boast as\nmany stupid men as we in the south\ncan, and can boast of more who worry\na hundred times as much as the rest\nof us do\nWorry seems to be a great inspira-\ntion in Russia. A little problem which\nthe South settled some centuries ago\nwill travel up to Russia somehow in\nsome obstinate thick head, and there\nfreeze into an eternal existence which,\nafter all, is a bit of a bore. And in\nthis book we see all the old problems\nworrying these able men and freezing\nas they teaze.\nThere they remain like monuments\nin ice, happy in being an eternal per-\nplexity.\nNow and again the ice cracks, a\nthaw sets in; but all is well before\nlong; another writer comes and the vexa-\ntion triumphs anew; 44it shall triumph ..\nwe will never admit defeat ; no one\nshall surpass us in the art of being di-\nsturbed by nothing \". So they seem to\nsay.\nBut it was to do no more than say\nhow admirable this book is in parts\nthat I decided to touch upon it\nnow.\nLater I hope to be able to return to\nit, to enquire into a few puzzling pas-\nsages and some omissions ; to ask how\nit is possible for the good Professor to\nstate that Stanislawski nearly wrecked\nthe Moscow Theatre;—to state that\nsome of the best actors 44 could not\nbrook \" Stanislawski whose 44 autocratic\npower \" offended them. I do not like\nto believe that those good Russian\nactors were cry-babies, dissatisfied with\n41 the narrowness and onesidedness of\nthe repertory and the humiliation and\npressure exerted upon the freedom of\nthe development of the artistic perso-\nnality of the actors of the company' .\nThis quotation comes from the protest\nsent in by Meyerhold, ....Meyerhold\nwho today seems to be enjoying a\nlittle spell of autocratic power and wor-\nrying on and on and on.\nAnd I wonder why Professor Wiener\nmakes no mention of Reinhardt ? ...and\nsays not a word of Wyspiansky, and\nwhy he omits all mention of the Ita-\nlians who went north and taught so\nmuch there.\nAnyhow, it is a bright book, and\nif Wiener must have his way about\nthe Germans, then let him ; ... but they\nmust then accept responsability for the\ncatastrophe of the Russian theatre of\ntoday which Dr Wiener has outlined\nso cleverly in the final chapter.\nThere we see the net result of try-\ning to influence according to clock-\nwork. The Soviet, he tells us, admits\nthat its Theatre has failed. The old\nItalian influence—that so natural one,\nhad it been properly absorbed, would\nnever have had such a wretched\nresult.\n\nA MIDSUMMER-NIGHT'S\nDREAM by William Shakespeare.\nCambridge University Press. 6/- net.\nWITH its one beautiful reproduc-\ntion by Mr Walker of the por-\ntrait of Elizabeth Vernon Countess of\nSouthhampton by goodness knows who,\nin quite the prettiest piece of serious\nbinding I have seen for some years,\nthis sample of the new Cambridge Edi-\ntion of the Works of Shakespeare\ncomes to us to prove what excellent\nwork can be done in England by prin-\nters, paper-makers, binders, editors and\npublishers, although the times are not\nall t at could be wished\nThe author of this play, recently\naccepted for production by the Ma-\nnagement of Drury Lane theatre, and\nput on there by the best \"producer\"\nLondon can afford, is a man of un-\ndoubted dramatic and poetic poten-\ntialities.\nUnfortunately his poetic muse is at\ntimes too powerful, or shall I say, too\npersuasive, and beguiles our author into\nrather too many vagaries : he wiil often\nleave the dramatic muse standing too\nlong while he forces us to listen to\npassages of uncalled-for poetry, uncalled\nfor by the situation.\nHe describes places too .minutely'in\nthe text. We really do not want to\nhear so much about 14 the bank where\nthe wild thyme blows \" ; .... In fact I\nregret to find so many long and talka-\ntive, if poetical, speeches which are\nnot needed by the Drama.\nThe young dramatist is anyhow a\nman of talent, and in spite of the re-\nception given to his Drury Lane li-\nbretto by the London critics, I do\nsincerely believe that when he has rid\nhimself of the fault just mentioned he\nwill, in time, come to take his place\nwith the dramatic writers of the pe-\nriod, with Barrie, Pinero, Sutro and\nA. G. Haffer."}, {"page_pdf": 48, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.48", "texte": "THE ART Of THE THEATRE\nby Sarah Bernhardt. Geoffrey Bles.\nLondon. 7j 6.\nMR Agate has written a sympathe-\ntic preface to this volume of rub-\nbish, to quote Madame Bernhardt's\nown word for the book, ...,441e fatras\"\nshe called it: and M. Marcel Berger,\nwho, aided by M. Georges Ribemont-\nDessaignes had the difficult task of put-\nting the manuscript in shape for the\ngreat actress, has written a charming\nintroduction.\nBoth M. Berger and Mr Agate al-\nlude to Madame Bernhardt as Sarah.\nAnd I wonder why ? I ask myself\nwhether they called her Sarah to her\nface,... or perhaps it was Madame Sa-\nrah. I do not find Sarah is a parti-\ncularly happy name.... it reminds one\nforcibly of the jolly old charwomen.\nPerhaps this accounts for Mrs Sarah\nSiddons being known to all of us as\nMrs. Siddons, though doubtless the\nKemble family, and perhaps three or\nfour dearest friends, were' v/ont to call\nher Sarah in private. But in public,\nin journals, in books, we call her Mrs.\nSiddons and shall, I think, always do so.\nIt has been the misfortune of num-\nbers of us of the 19th and 20th cen-\nturies to hear people in and other\npublic places spreading out their voices\nwith this name Sarah (meaning Ma-\ndame Bernhardt) and pronouncing it\nit with a long throaty a as in Saharra.\nBut did you ever like it ? I must con-\nfess I loathed it. Still, it became the\nfashion, and even well educated people\nlike Sir George Arthur, whose little\nvolume I have already praised in these\ncolumns, even he is for ever using the\nname Sarah—but I admit he utters it\nlightly, crisply.\nGlancing over his pages again today\nI was rather struck by a passage on\nthe last page. It speaks of her burial\nand 4S the tomb on which had been\ncarved the all-sufficing word Bern-\nhardt Well, it does not suffice Mr\nAgate who, in the course of five and\na quarter pages utters the name Sarah\nnine times. M. Berget voices it but once.\nAs is well known, actors and actresses\noften call one another by their Chris-\ntian names ; there is a reason for it:\nthey are always seeing each other,\nalways at work together ....and the\nTheatrical family is anyhow a family.\nBut for anyone outside to assume the\nprivilege is in rather bad taste.\n1 am a writer, but when 1 was pri-\nvileged to meet Mrs Humphrey Ward\nand John Oliver Hobbes I did no;\ncall them Humphrey or Johnnie. I think\n1 would quite as soon have attempted\nto call the author of 44 The Bondman\"\n44 Hall old boy\". And in private I\nspoke of them as 1 did to them. Again\nI recall seeing that good publisher Mr\nHeinemann day after day for eight or\nten months, but never once did I call\nout, 441 say, Willie \". I kept that for\nMr Clarkson, He alone may be, must\nbe, Willie.\nAnd so if her fellow actors Sarah-ed\nthe divine Bernhardt, and if her lovers,\nClairin, Sarcey, Berton, Rochfort and\na dozen or two more, were so privi-\nleged, being her professed and accepted\nlovers, to call her what they liked, surely\nthe case is quite another one with the\nlittle pages who carried her train—and\nthe ghost of the fringe of that train.\n1 had not even that honour, so Ma-\ndame Bernhardt she remains for me.\nAn actress who seems very often\nto have been called by her first name\nwas Sophie Arnould ; but then she was\nno tigress, nothing but the amiable was\nshe .... and 44 your Sophie will come\nand see you\" or 44 your Sophie is\nvery cross\" is what she was always\nwriting to everyone. It was always\n44 your Sophie Not so Rachel. Con-\nceive a letter from her beginning 44 Your\nRachel is in a fit of the blues today\nsomehow this tragic being had the power\nto make the name Rachel sound like\na monument every time it was uttered.\nThere was Clairon too ....who ever\ncalled her Hyppolite I'd like to know ;\nyet that was her first name. And the\ngreat Raucourt.... even Mr Agate would\nhardly be heard swinging her name\naround. Conceive him trying to show\nhow well he knew her and saying,44 Yes,\n- Marie - Antoinette - Josephe\ntook luncheon with me on the outskirts\nof Manchester in 1787. .. ah poor dear\nFransoi?e - Marie - Antoinette - Josephe,\nwhat an artist and oh oh oh !!! what a\nman she was But then Mr Agate\nwould assuredly have called her Joey.\nLa Guimard was, 1 believe, always La\nGuimard, never Marie or Madeleine by\nany one who well-met and hailed her.\nNo, it really seems to have been\nthe fate of Bernhardt to set the vulgar\nfashion in a vulgar epoch. Think of\nit: ....hundreds of hungry souls are\nwaiting to say 44— was divine tonight \"\nprovided they could call that someone\nby her Christian or Hebraic name.\nAnd so the name Sarah became a nut\nfor every monkey's mouth.\nAnd now the great performer has\nwritten a hit of a book which begins\n44 The Art of the Theatre is the most\ndifficult of all the arts, as I will show\".\nFull stop.\nShe then repeats what that char-\nming Signor Pelzet and a hundred\nothers have said. The whole thing is\na confusion and too often a little far-\ncical. She does not stop to think,\nand she hurries on without even ma-\nking a dash for a new notion or two.\nTo haye tried for a new idea or so\nwould have been something. Yet once\nshe has a new word ; she (or one of\nher editors) talks of a certain Annie\nDesclee who created 4' Frou-Frou '9;\n.... would this be the sister of Aimee\nDesclee ? .... if so this certainly is a bit\nof news and useful to the historian.\nBut all this will not prevent us from\nremembering that she was one of the\nfirst performers of her time, with gifts\nwhich she exercised as much, and quite\nas well, off the stage as on it, ....she was\nfor ever playing tragedy or comedy,\nand sometimes even her entourage was\nnot quite sure which was which. But\nof course Mr Agate was never deceived.\n\nMAGAZINE REVIEW.\n\n44 Theatre Arts Monthly\" keeps\n1 up to its excellent standard and\nis quite the best American Theatre Ma-\ngazine we know of. We go to it to\nfind all about the Plays of Mr O' Neill\nand other American dramatists; the\nstage-management of a dozen good\nAmerican men ; the scenes and costume\ndesigns of Mr Geddes, Mr Jones and\nMr Herman Rosse and the rest; the\ndancing off Miss St Denis and her hus-\nband Mr Shawn; the acting of Mr\nArliss, of Miss Crews and others, and a.\nhundred other American people's doings\non their go-ahead American stages. Re-\ncently too there have been some histo-\nrical items, 17th, 18th and 19th cen-\ntury items: these are not quite so good\nand somehow do not seem to look\nright coming back to us from America.\nOne sees reason for any European\njournal informing us and America of\nan old French Theatre and showing\nus some of its rare designs, whereas\none would see no reason for a Euro-\npean journal which attempted to tell\nus about the building of the old Bo-\nwery or other American doings.\nThese historical things have to be\ndone on the spot and take a long time.\nSo when on page 164 of the March\nnumber we see a modern drawing\nlabelled \"Ferdinando Bibiena's Theatre\nin Torino \" we rub our eyes and then\nwe look it up over here. We find\nthat the drawing does not represent\nany Theatre hy Ferdinando Bibiena in\nTorino, and we find that this modern\ndrawing is derived, almost copied, from\nan 18th century engraving by C. An-\ntonio Buffagnotti of Bologna. Well, at\nany rate his name might have been given."}, {"page_pdf": 49, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.49", "texte": "EDITORIAL NOTES.\n\nABOUT CONRAD AND HIS\nPAINSTAKING METHOD.\nIN November of last year we came\nacross this wretched nonsense in a\nserious London journal:\nThe waiter, after referring to the\n44 cult of collecting Conrad early edi-\ntions ** and to some 44 first annotated\nand revised editions\" at that time about\nto be offered for sale by Mr J. B. Pinker,\nfor twenty years Conrad's literary agent,\ngoes on : 44 There is a copy of 44 4AI-\n-44 mayer's Folly*, the story of an eastern\n44 river, which shows the critical spirit\n44 in which Conrad reviewed his work.\n44 Adjectives, redundant phrases, and\n44 whole passages were deleted, and here\n44 and there expressions changed in an\n44 attempt to achieve perfection.\n44 The corrected proofs of 4Nostromo\\\n44 another of the lots, similarly illustrate\n44 the pains he took with his work \".\nDo not our great newspapers also\ntake pains? does not the most ordi-\nnary journalist review his own Work\nand in a critical spirit does he not\ndelete whole passages, redundant phra-\nses, adjectives, and attempt to achieve\nperfection ? Of course he does.\nA journalist is as able a man and\nas much of an artist and as painsta-\nking as any great author.... often enough\nhe proves to be a great writer What\nobject then is served by this London\nJournal making so much of such an\nordinary every day affair? Why open\nthe eyes and gasp out that even the\ngreat Conrad took pains; for it makes\nsensible folk who read that London\nDaily ask themselves what the deuce\nit's all about; and it makes a half\nmillion fools fanep that writers as a\nrule take no pains, never correct, show\nno critical spirit, and never attempt\nto achieve perfection.\nThe writer of the paragraph made\nnothing interesting out of a very inte-\nresting theme : A sale at Sotheby's. All\nhe could do was to pretend to be stag-\ngered that an author should take pains.\n44 The Mask\" is not published for\nany reason but to support Theatre\nthings; but for all that it may now\nand again be excused for putting in a\nword for writers, painters, architects\nand other workers in the arts. Some-\ntimes neighbour can make it easier for\nneighbour than he can for himself.\nUnfortunately this is not always trou-\nbled about; the tendency being for\nactors to disregard writers, writers to\nbe indifferent to Theatre, painters to\navoid sculptors, and architects to be\nunaware that music does truly exist.\nSomething near the truth of it all is\nthat the art of being able to forget\noneself, to look out at things, is get-\nting rather more rare to us egoists than\nit always was.\n\nPASSING FIGURES,\nAS the year 1924 came to a close\nfive prominent figures in the world\nof the Theatre passed away. Puccini,\nFaur£, Bakst, William Archer and\nDe Max.... Two Composers, a Rus-\nsian scene painter, an English critic and\na Roumanian actor. All five were\ncelebrated enough, and we need not\nbe in any hurry to decide on the exact\nniche in the hall of Fame where chance\nwill place them. They now start\nlooking for it for themselves. Will\nthese two stars De Max and William\nArcher ever come so close together\nagain in the history of the world as\nthey do now and here ? And Puccini\nand Bakst, will these two names meet\nagain on the same page ? Perhaps some\nmay find them silly fellows one and\nall, when they come to think of them,\neven as we, when dead and gone, can\nbut become the fools of time. What\na trouble we put ourselves to, to\ncompose, act, write and paint, and\nhow we keep it up. What for? for\nour own pleasure ? we have very little.\nOr to make money ? and what's that ?\nor is it to give pleasure ? Well, we raise\nsome controversy and breed a little con-\ntention. And the very little which a good\nartist makes is at most a wisp of straw.\nStill many there are today who will\nmiss these five: with whom we would\nremember two others who were friends\nto our work, .... Sir Claud Phillips and\nC. Wilhelm : and we wish them all\npeace and long repose.\n\no ANNO DOMINI. o\nMR Arthur Roberts had a glorious\nJubilee lately and London did\nhim proud.\nThe only unkind cut he received\nwas from Mr James Agate who in the\n44 Sunday Times \" spoke of Mr Ro-\nberts *s songs as those which 44 enrap-\ntured our fathers \", thereby sugges-\nting (as Mr James Agate never fails\nto suggest) that he, Mr James Agate,\nis quite one of the young ones.\nMr Agate, we learn to our astonish-\nment, is nearly fifty, yet he takes\nhimself to be one of the latest. 44 From\ndim memories \"he writes in the same\nnotes on Roberts, 44 and according to\nprecise account, those eighties and\nnineties were delicious days \". As Mr\nAgate was born, according to 44 Who's\nWho in Literature \", in 1877, he has\nno excuse for not knowing something\nabout the nineties anyhow from some-\nthing more than 44 dim memory \"•\nAnd to think that we have never\nestimated Mr Agate as over twenty-seven\nor thirty at the most. That was why\nall his awkwardness seemed so entirely\ncharming. Now we feel a little diffe-\nrently about him. Still anyhow there\nis room in London for twenty or thirty\nsuch energetic critics, and what does\ntheir age matter at all, until London\nshall decide in about eighty years from\nnow that it really is time for its Thea-\ntre to wake up .. and then to get up\nand do something,\n\nAWAY FROM THE MACHINE.\nTHE Guardian the London jour-\nnal which gives us the Chuich\nnews, also gives us more than rarely\nmuch good reading about science and\nart and recently had an excellent article\nby Mr R. Ellis Roberts in its columns\non handprinting and woodcuts from\nwhich we take a small slice. Mr Ro-\nberts calls his article 44 Away from the\nPvlachine \".\n44 The god who came from the ma-\n\" chine never arrived at the critical\n44 moment of a play on the Greek\n44 stage, unless the machine was care-\n-44 fully managed by human hands. In\n44 a sense which some of us are in\n44 danger of forgetting, all machinery\n44 is dependent on men. When I write\n44 by the light of an electrically heated\n44 metal I may forget the great power\n44 station where men look after the\n44 machinery which provides the light,\n44 but 1 can scarcely forget that I have\n44 to turn on the switch. In the country,\n44 where, if you have electric light, you\n44 have to make it yourself, you are\n44 in no risk of forgetting that the ma-\n-44 chine is your servant, not your master.\n44 How easily, however, it becomes a\n44 spoiled servant—-and a spoiled servant\n44 will in time always mean a ruined\n44 master, even though much wealth\n44 may reveal his obsequiousness. The\n44 great difference between our day and\n44 our forefathers\" is that we have"}, {"page_pdf": 50, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192504-01.1.50", "texte": "44 machinery which it is so easy to\n44 spoil—in all senses of the word.\n44 After all, a plow, a cart, a wheel-\n-44 barrow are all machines: but they\n44 differ enormously from the threshing-\n-44 machine, the electric milker, or the\n44 motor-car. In the early machines\n44 that served mankind, you had instru-\n-44 ments in the use of which the effort\n44 of the men and the capacity of the\n44 machine were not too unequal. Slowly\n*• and gravely a man holds the plow\n44 down and ploughs a careful and\n44 laborious furrow ; he is using a ma-\n-44 chine, but he is working with his\n44 own energy. To-day a button is\n44 pressed, and a liner as large as a\n44 block of houses glides from the dock\n44 into the sea: or you put your foot\n44 on a small knob in a horseless car-\n-44 riage and the power of half a hundred\n44 horses grumbles and gathers itself to\n44 carry you over England. We are\n44 not yet, over here, the slaves of\n44 mechanical things; but one hears\n44 strange and dreary tales from Ame-\n-4 4 rica: how, under the pressure of\n44 big business and wasteful advertising,\n44 man spends his time in wanting to\n44 buy things, in order to keep other\n44 men working to sell things which\n44 neither seller nor buyer really needs ;\n44 and there is left time neither for\n44 leisure nor for life. There is room\n44 for 44 modern improvements \" : but\n44 they are a danger to all who cannot\n44 do without them. They are the\n44 modern manifestations of that Mam-\n-44 men whose service is declared to be\n44 incompatible with the service of God,\n44 of that wealth the possession of which\n44 makes it almost impossible to enter\n44 the kingdom of heaven. An enemy\n44 to God, the lover of the machine is\n44 necessarily an enemy to beauty : for\n44 the most mechanical thing in our\n44 world is fashion, and though fashion\n44 may sometimes stumble into the paths\n44 of beauty, the lover of fashion is\n44 always beauty's enemy, for she (or he)\n44 will desert loveliness as soon as love-\n-44 liness is 44 not the thing 44 and will\n44 often fail to recognise it when it is\n44 found in the ranks of the poor and\n44 the disregarded *\\ 0)\nAfter this the writer praises Mr\nGibbings's new works but recently\nissued from the Cockrell Press, and a\nwork by Mr James Guthrie of the\nPear Tree Press, and a few old friends\nsuch as the productions of Ricketts,\nCrawhall and Morris.\nHis 44 all machinery is dependent on\nman \" is assuredly a point—and one\nwe should be wise enough to remember\nin time if we are to get to anything\nwith all these machines.\nIn the Theatre they more than often\nget in the way of the men who would\nproduce something worth while.\nWe would like to read another article\nby Mr Ellis Roberts dealing with the\ndifference of the man who merely turns\na switch automatically and the other\nman who turns it to some purpose.\nElectric light is a lovely thing,—but\nwhen handled on the stage by a man\nwho is solely of a mechanical turn of\nmind,... that is where all the trouble\nbegins.\n(i) The Guardian. Dec. 12. 1924.\n\no ENGLISH o\nGEORGE Jean Nathan writing in\nan American publication about\nMr Galsworthy's 44 Old English \" pro-\nduced recently in New York says:\n44 The staging of the play by E.\n44 Lyall Swete, imported by Winthrop\n44 Ames from England for the purpose,\n44 is thoroughly up to what appears to\n44 be the present London standard, which\n44 is to say about one-fifth as good as\n44 that revealed in the average American\n44 semi-professional little Theatre.\n44 Of the theatres today the En-\n-44 glish is farthest behind the times in\n44 the matter of production and sta-\n-44 ging. Basil Dean, Lyall Swete and\n44 such are entrusted with England's\n44 honour while England exiles its own\n44 greatest stage genius, Gordon Craig,\n44 in far-off Italy\nIt is pleasant to observe that there\nis at least in America an English-speak-\ning critic who can speak and write\nEnglish better, if only because straighter,\nthan is customary in London.\nTo dislike the thing that Nathan\ndraws attention to should be the first\nduty of any Dramatic Critic who is\n(besides calling himself) English,\n\nA DRAWING BY OUIDA. (I)\nYours,\nAllen Carric.\nDear Sir :\nA drawing by Ouida seems to me\nto be something of a sensation,\nthough to judge from this drawing she\nmust have done several in her time.\nThe date on the drawing is 1890, the\nplace drawn \"Acciaiuoli\", supposedly\nan entrance to the big castle of the\nold Acciaiuoli owned today by Sir\nGeorge Sitwell.\nIt is drawn in burnt siena and black,\ndrawn in with rough brushes, and I came\nacross it in a bookseller's shop in Fi-\nrenze. Evidently no one had seen the\ntiny inscription 44 Ouida \" at the bottom\nof the big page (for it is a big drawing) ;\nand anyhow drawings by L'Amico di\nSandro are more highly prized than\nthose by L'Arnica dei Cani.\nAnyhow it was a valuable find and\nI think some day it should pass into\nour National collection in London;\nfor so valuable a piece (valuable for\nseveral reasons) should not be eating\nits head off in my collection.\n(1) A Note on the Frontispiece to\nthis number, reproduced by permission of\nMr Allen Carrie.\n\nUNIVERSITY & THEATRE.\nJ. S.\nMR Allardyce Nicoll hopes that the\nUniversity and the Theatre will\nsome day meet and work together.\nWe fear that Mr Nicoll and Fre-\nderick Nietzsche would not have quite\nagreed about that.\nWhat is final is that they have long\nago met and been of service to one\nanother; ....at least the Theatre has\nbeen useful to the University.\nWe hope to publish an article on\na famous College and its theatres in\nthe 16th and 17th centuries. Mean-\ntime we hear from Toronto ....from\nour Canada.... that what London is\ntalking of doing has been done there.\nThe University of Toronto has its own\nTheatre which will hold five hundred\npersons. It is not a makeshift, it is\nthe real thing, managed by a group of\nserious men with a director and a per-\nmanent staff.\nSince 1921 these have been free to\nmanage as they wish, and are only\nresponsable to the Governors of the\nUniversity.\nThe Theatre has existed since 1919.\nit was specially built. Modern ideas\nprevail. Eight to ten new plays are\nstaged each season.\nWe wish the workers the best of luck,\nwhich can but follow good discipline.\n\nAll Rights reserved. April 1925.\nGerente responsabile Antonio Maraini\nTipografia Giuntina, Firenze."}]}