{"numero_id": "bm-bmtnaau-1925-07-01", "volume": "bmtnaau_1925-07_01", "ocr_sha256": "e7de8794d72f7b0d6e2e447f9d36db6a451171f91322981e9c7cef42215728c6", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1925/07_01/bmtnaau_1925-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1925/07_01/bmtnaau_1925-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01", "articles": [{"article_id": "bm-bmtnaau-1925-07-01-c001", "article_bluemountain": "bmtnaau_1925-07_01#c001", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192507-01.2.1", "titre_corps": "THREE LONDON ESTIMATES OF THE MASK", "titre_sommaire": "THREE LONDON ESTIMATES OF THE MASK", "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=bmtnaau192507-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 3001, "texte": "THREE LONDON\nESTIMATES OF\nTHE MASK.\nA play is a form of literature in-\ntended to be acted on a public\nstage. For its successful production\nare necessary a good play, a good\ntheatre, good actors, an attentive au-\ndience, and a supreme producer. They\nlittle guess that the actress who so\ncharmed and thrilled them had to be\ncoached in everything she uttered ;\nthat all the feeling, all the wit, all the\nhorror she exhibited were laboriously\ntaught to her by a profane and untiring\nstage manager. Similarly the produ-\ncer's other work of making a whole\nout of the odds and ends of a de-\njected and rebellious greenroom, of\nturning a ghastly dress rehearsal into\na triumphant first night, is rarely ap-\npreciated properly by the audience.\nThey, bless their dear hearts, believe\nin the genius of the individual actor or\nactress, a thing which rarely occurs\nand is always dangerous; they forget\nthe producer. Especially in England\nthey forget him. More, they dislike\nand despise him. Here they are\nhelped by the dramatic critics who,\nwhen they are not over praising a good\nactor or actress, are busily assuring us\nthat a third-rate miss is a Mrs. Sid-\ndons. Never was theatrical criticism\nin so low a state as at present There\nhas been, since Max left England,\npractically no expert criticism of acting,\nTo-day critics, unrebuked, hail so im-\nmature, inexpert and insensitive an\nactress as Miss Fay Compton as if\nshe were the equal of Ellen Terry;\nand Miss Thorndike's industrious elo-\ncution is praised as high tragic acting.\nPerhaps these things are a judgement\non the English stage. For we had\nhere the greatest man of the theatre\nour century has known, and all we\ncould do with him was to laugh at\nhim, and now that he lives in Italy\nevery third rate little dramatist or dra-\nmatic critic makes an insolent gesture\nat Mr. Gordon Craig. The big men\nknow his woith. Mr. Yeats has\npraised him and given him what\nchance he could ; and artists less con-\nsiderable than Mr. Yeats, but men of\nsensitiveness and dramatic taste, such\nas Mr. Lennox Robinson, pay tribute\nto his work. Those who are interested\nin what Mr. Craig and his colleagues\nare doing for the theatre, and in what\nthey hope and think of, cannot do\nbetter than subscribe to Ihe Mas\nNormally it has four numbers a year ;\nit is illustrated ; it is exceptionally easy\nto read, and while you may find things\nin it to disagree with, you will never find\nanything merely flatulent or pompous.\nTHE\n\"REVIEW OF REVIEWS\"\nCALLS IT\n'• ONE OF THE MOST NOTEWORTHY\nMAGAZINES PUBLISHED\nIN THE ENGLISH LANGUAGE\n\"QUITE UNIQUE AND A CREDIT TO\nENGLISH LETTERS\".\nJANUARY, 1925.\nO\nTHE MORNING POST\nSAYS \"THE LIVELIEST AND WITTIEST\nLITTLE MAGAZINE KNOWN TO US\".\n□\n<• BRILLIANT AND INFORMATIVE\".\nFEBRUARY 24, 1925.\n• . ' • . II\no\nWHAT\n\"THE GUARDIAN\"\nMAY 1 , 1925.\nSAYS IS REPRINTED IN THE SIDE\nCOLUMN UPON THIS PAGE.\no\nSUBSCRIPTIONS MAY BE SENT THROUGH\nANY BOOKSELLER ; OR, BY CHEQUE, POSTAL\nORDER OR BANK NOTE, DIRECT TO:\nTHE MASK PUBLISHERS\nBOX 444, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c002", "article_bluemountain": "bmtnaau_1925-07_01#c002", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[96]", "page_fin": "[96]", "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=bmtnaau192507-01.2.2", "titre_corps": "VERSAILLES TAKEN FROM THE AIR", "titre_sommaire": "VERSAILLES TAKEN FROM THE AIR", "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": "[96]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 241, "texte": "VERSAILLES TAKEN FROM THE AIR.\nShowing the Large Opera House built by Architect Gabriel; commenced 1733, inaugurated May 16th, 1770. A portion of the u Thêâtre des\npetits Cabinets \" built in 1747 for Mme. de Pompadour is also shown.\nPlate 9."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c003", "article_bluemountain": "bmtnaau_1925-07_01#c003", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "98", "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=bmtnaau192507-01.2.3", "titre_corps": "ABOUT THE PLAN", "titre_sommaire": "ABOUT THE PLAN", "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": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.5", "debut_caractere": 27, "fin_caractere_exclue": 1307, "texte": "ABOUT THE PLAN.\n\nIN this number of The Mask we continue the series we began in\nJanuary last with the reproduction of Nolli's famous Plan of Roma,\nand purpose to carry on later with the publication of other rare\nPlans, of London and some more Italian cities.\nThis eighteenth century Plan of Paris which we now offer our\nreaders is a view of the Paris of 1 734\"39 and might really have been\nphotographed from an aeroplane. These artists of centuries ago\nmanaged without photographic or flying machine because their imagina-\ntions were so well trained to flight, and their eye and hand so under\ncontrol, that to see a city from the skies without being up in the air\nwas a possibility. But with these two gifts they did more than the\nphotograph or aeroplane can ever hope to do. They were able to\nsee the city from above and sideways at the same time, recording\nvery nearly all that the man flying up and down and walking in\nthe streets between the houses would see.\nIn this Turgot plan a double thing is done : imagination has lifted\nthe artist-recorder over the spires of Notre Dame and imagination has\nenabled him at the same time to remain down with us. Not without\nqualities it seems, this same imagination of man.\nWhat was the date of the first exact and useful birdseye view of"}, {"page_pdf": 6, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 350, "texte": "this kind the Libraries of London, Roma and Paris can say. We knov\nof a few brilliant Italian plans ; for example that birdseye view of Ve\nnezia engraved on wood by Jacopo de' Barbari (circa 1 600) and th\none of Ferrara of 1 747 in manuscript. The latter we hope to presen\nto our readers before long, since we believe it is not very well knowr\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c005", "article_bluemountain": "bmtnaau_1925-07_01#c005", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 7, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.4", "titre_corps": "PLAN DE PARIS COMMENCE L'ANNÉE 1734 : DESSINÉ ET GRAVEÉ SOUS LES ORDRES DE MICHEL-ETIENNE TURGOT, PRÉVÔT DES MARCHANDS ETC. ACHEVÉ ET GRAVE EN 1739", "titre_sommaire": "PLAN DE PARIS COMMENCE L'ANNÉE 1734 : DESSINÉ ET GRAVEÉ SOUS LES ORDRES DE MICHEL-ETIENNE TURGOT, PRÉVÔT DES MARCHANDS ETC. ACHEVÉ ET GRAVE EN 1739", "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": 7, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2757, "texte": "PLAN DE PARIS\nCOMMENCE L'ANNÉE 1734. DESSINÉ ET GRAVEÉ SOUS\nLES ORDRES DE MICHEL-ETIENNE TURGOT, PRÉVÔT\nDES MARCHANDS ETC. ACHEVÉ ET GRAVE EN 1739.\n\nIsleworth, 15th September 1759.\nDear Boy: History must be accompanied with chronology as well as geography,\nor else one has but a very confused notion of it; for it is not sufficient to know\nwhat things have been done, which history teaches us; and where they have been\ndone, which we learm by geogrephy; but one must know when they have been\ndone, and that is the particular business of chronology.\nFrom the Earl of Chesterfield's Letters to his Son.\nVERY magnificent were the ideas of\nMichel Etienne Turgot, Prevot\ndes Marchands of Paris in the\nmiddle of the eighteenth century.\nIf would be hard to find a more\nswagger plan of any city and there exist\nmany grandiose plans of Venice, of Lon-\ndon, of Firenze, and Roma, and five or six\nof Paris.\nI take it that Monsieur Turgot was\nnot excessively sensitive; that he had weight\n—was something of a despot—and knew\nwhat he wanted. And in 1733 he\nwanted a man who could dp the job\nbetter than Truschet had done it in 1 531\nand better than Gomboust in 1649,\nRochefort in 1672 and Bullet and Blondel\nin 1670 : and all these as he saw had\ndone the thing fairly well. He was a\nlittle put out hearing so much about\nM. l'Abbe Delagrive and his \" mathe-\nmatical precision\". Precision he was\ngoing to have, but not at the expense\nof the monumental.\nThere was something a little too\nfinicken about M. l'Abbe—too delicate.\nIt annoyed him to see so many heads\ncraning over a square inch by De la Grive.\nWhat he wanted was square miles—tout\nParis, not a cul-de-sac with a man\nwheeling a barrow:—besides, Callot had\nbeen dead a hundred years. Cardinal\nRichelieu had thought well of that fellow—\nhe would have been useful for putting in\nthe figures now ; still as Callot was dead\nand gone, and houses, palaces, and the streets\nand bridges and some boats remained, he\nwill have these recorded...and let 'em\nimagine the figures—put 'em inside the\nhouses. Decidedly since Callot was dead,\nit was useless to think of figures—bah!\nthat Delavigne or Delagrive—all's one.\nSo Turgot sent for a modest little\nman he knew of: one Louis Bretez a\ngeographical engineer: Delicacy be damned,\nsaid Turgot—fancy being delicate about\nParis—besides....and M. Louis Bretez is\nshown into the presence.\nAnd there he receives the order to\nmake this plan: he is to complete the\ndrawing during 1734, an engraver is to\ncut it on the plates, and that will take\nlonger than a year it would seem. 1734\nbeing the year of the war with Parma—\n1735 the year when Louis XV begins\nto reign—what else is occupying the time,\nmoney and attention of the people of Paris,\nthat the engraving of these twenty plates"}, {"page_pdf": 8, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2456, "texte": "is delayed until 1739. Five years are\nnot needed to engrave 20 plates; but\nfive years were lost after 1734 when\nthe design was ready. I do not know how\nor why, but 1 enjoy a laugh when I see\nyears lost over such a work as this. To\nhurry over it makes for trouble and regret.\nClaude Lucas strolled into the engraving,\nand the lettering was done by Aubin.\nThe original plan consisted of 20\nsheets, each sheet measuring 79 centimetres\nwide by 5 0 high; this includes the border\nwhich (in the original) is 32 millimetres\nwide. Some of the sheets measured only\n48 high. United in one, so as to form\na single sheet to hang on a wall, it\nmeasured about 3 metres 16 centimetres\nby 2 metres 45 centimetres... exclusive\nof the margin.\nSo it will be seen that it really is\nan enormous plan, yet in 1851 the great\nsheet was still procurable for 50 francs\n(that was when 50 francs were well\nworth two English pounds): while before\n1840 one could buy it any where for about\n25 francs and 44 more or less splendidly\nbound \" says M. Alfred Bonnardot.\nToday you must pay a high price\nfor an original copy, although reproduc-\ntions, good, large but unwieldy, used to\ncost about 5 francs. The last time I\ntried to get one, it had gone up to a\ngood deal more.\nSo it is not a rare plan : though an\nedition this size and for this price has\nnever appeared till now.\nGomboust's plan, of about a hundred\nyears earlier, is very rare—though this too\nhas been admirably reproduced by A. Ta-\nride who used to issue a number of fine\nplans from 18-20 Boulevard Saint Denis,\namongst them this same 44 Plan de Turgot.\"\nIt is said that this Plan de Turgot\nwas not highly valued in its own day:\nits perspective was considered 4 forced *:\nand indeed it has a hard Turgotish feeling.\nHad the Abbe Delagrive been invited to\ndo it how then?: he would (I feel con-\nvinced) have broken down: who else was\nalive to attempt satisfying this Turgot and\nhis colossal ideas.\nTo me it is a delight. I would not\nhave it a scrap less precise: I would not\nwear off an edge of it: 1 like it formal\nand hard: it will endure well and serve\nfaithfully. It is as plain as a date: it\nis a historian's plan rather than an artist's:\nand since it is the historians who turn to\nplans, let them thank heaven that Watteau\nwasn't called in to make it fantastic and\nfaithless, nor even Callot alive to be\nbrowbeaten by old Turgot. I presume\nhe was 01d... this is surely not the kind\nof thing a young man orders.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c007", "article_bluemountain": "bmtnaau_1925-07_01#c007", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "142", "image_debut": 9, "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=bmtnaau192507-01.2.5", "titre_corps": "KEY PLAN TO THE \"PLAN DE TURGOT\"", "titre_sommaire": "KEY PLAN TO THE \"PLAN DE TURGOT\"", "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": 9, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 33, "texte": "KEY PLAN TO THE \"PLAN DE TURGOT\"."}, {"page_pdf": 10, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.10", "debut_caractere": 24, "fin_caractere_exclue": 711, "texte": "A FEW NOTES ON THE\n\"PLAN DE TUKGOT\".\nMANY hundreds of notes under and\naround these plates could be added\nto tell the story of the Paris streets of\n1734-39 and after. And Turgot might\nwell have put someone on to do this for\nus, at any rate to the extent of naming\nevery interesting spot as Nolli did in\nthe Pianta di Roma. But many hun-\ndreds of entries will not crush into the\nspace at our command. So we must rest\ncontent to add under the plates only those\nof the highest Theatrical value, and leave\nit to the scholar to interleave his copy\nand add what interests him most. For\nothers, besides the theatrical-minded,\nwill, it is hoped, use this plan.\nIt is curious to note that only two"}, {"page_pdf": 11, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.11", "debut_caractere": 39, "fin_caractere_exclue": 785, "texte": "Theatres are marked on this plan : the Co-\nm6dieFran£aiseandtheCom6dieltalienne,\ntliough the diligent worker will no doubt\nlocate the precise position of a few more,\nBut at Turgot's time Paris did not\npossess as many Theatres as did Koma\nin 1748 (see the Nolli plan) and earlier,\nI feel very much and very often that\nParis has always been held to be far\nstronger in all Theatrical matters than\nin reality she ever was. I fancy the\nFrench people created this impression\nof strength by means of their admira-\nble talk.\nI have noted time and again that\nItaly talks less and shows more : ....per-\nhaps not being able to talk quite so\nwittily had something to do with it.\nIn any case Italy's theatrical records\nare immense and France's not very\nlarge."}, {"page_pdf": 12, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.12", "debut_caractere": 40, "fin_caractere_exclue": 847, "texte": "We are told by the archeologists and\nhistorians of Prance (especially of Paris)\nof the existence of Theatres of which\nnot a single trace can be shown. We\nbelieve all we are told of course, but\nwe would have liked to see something,\nIn Italy there are theatres of the 16th\n%*\ncentury still in existence. The one Ro-\nman theatre of Paris is made much of\nby Parisians as is natural, but on Italy\nshowing us these immense buildings by\nthe dozen, the Paris trifle somehow\nfalls flat. No, Paris is stronger in its\nliterature than in its theatre, and it is\n'\nto literary men that this Plan is bound\nto appeal. After all it is something to\nlook down and see where it was Vol-\ntaire walked and talked, ....perhaps it\nis even more to be able to follow the\nfootsteps of Moliere.\nTo some of us it is neither Voltaire nor"}, {"page_pdf": 13, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.13", "debut_caractere": 39, "fin_caractere_exclue": 869, "texte": "Moliere of whom we shall think on lookiug\ndown on Paris, but of the crowd. The\ncrush of little poets, little painters, little\nabb6s, and soldiers, workmen, actresses,\nlemonade sellers, carriages by the thou-\nsand, packed as they are today, fil-\nling up the streets, creating a bustle ;\nshouts and screams and dust rising\nup, noises of every kind thickening\nthe hot air of a Wednesday afternoon as\nthe Opera opens its doors to let in the\nfolk to hear that dearest of all beings,\nSophie Arnould, singing to them.... so that\nthey might say they have heard her and\nseen her, and go away and forget what\nthey heard and saw, leaving me with eyes\ntixed to follow her steps as she goes\nfrom the Opera to mix with the Pari-\nsians at some supper table—utterly in-\nconsequent— utterly drunk— quite bril-\nliant too in her own way—far too good"}, {"page_pdf": 14, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.14", "debut_caractere": 38, "fin_caractere_exclue": 694, "texte": "for Paris of the 18th century; a fortu-\nnate, an unfortunate human being, des-\ntined to arouse everyone's love and\nmost people's hate;.the creation of Pa-\nris ; the silliest bit of goods ever crea-\nted, and yet one of the dearest of things\nthat ever came into existence.\nIt is Sophie Arnould I see when I\nlook over this vast plan and she seems\nto me the only thing big enough to fill\nthat stage.\nintellect alone, beauty alone, virtue\nalone—nothing by itself does fill it: we\nmust find a figure with all the weakness\nof Paris and all the strength of the\nworld before we can hope to see it stand\nout commanding the city,\nTo me Sophie Arnould alone does this."}, {"page_pdf": 15, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.15", "debut_caractere": 39, "fin_caractere_exclue": 305, "texte": "Notes[ to Plate 5, opposite page.\n1797. Sophie Arnould is living over\nawigmaker's shop in the Bue du Pe-\ntit Lion.\n1750. The younger Mile. Yerrieres lives\nin Itue de Seves opposite the Abbaye\nan Bo's. Her appartraent is on the\nfirst floor 4 Rue Basse-des-Ursines Xo. 7. lie\nSaint-Louis, (not marked in Turgot).\nHare says 7 Hue du Cloitre.\n1756. In the Rue de la Vieille Boucherie\nMile Raucourt is born.'\n\nContinued on page 142,"}, {"page_pdf": 31, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.31", "debut_caractere": 58, "fin_caractere_exclue": 452, "texte": "1635. Theatre da Faubourg Saint-Ger-\nmain.\n1644. The Th6dtre de Moliere or lMllustro\nTheatre was first situated in the\nFaubourg St. Germain. It went later\nto Port St. Paul (Plate 12): then to\nRue do Percy (Bussi?) Iu 1680 it\nwas in the Rue Mazarine ; iu 1689 it\nshifts to the Rue des Fosses St. Ger-\nmain , now Rue de TAncienne ComGdie.\nRemains of the stage exist today.\n\nContinued on page 142,"}, {"page_pdf": 32, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.32", "debut_caractere": 59, "fin_caractere_exclue": 242, "texte": "In the Rue du Vieux Colombier M. Jac-\nques Copeau constructs his Theatre\n44 du Yieux Colombier \" in the 20 th\ncentury. Students of the modern\nTheatre will easily locate the site\nhere."}, {"page_pdf": 33, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.33", "debut_caractere": 58, "fin_caractere_exclue": 354, "texte": "1781. Anne-Robert Turgot, the son of the\ndirector of this Plan, was buried at\nthe Hopital des Incurables.\n1672. Jeu de Paume du Bel-Air was in\nthe Rue (See also plate 23),\nThe Burial ground of Mile. Clairon was\noutside barrier Rue Vaugiraud.\nHouse for Combat des Animaux or the\nBear Pit of Paris."}, {"page_pdf": 34, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.34", "debut_caractere": 56, "fin_caractere_exclue": 459, "texte": "3792. In Rue de PHopital St. Louis the\nbody of Paul Jones, the pirate, was\nburied in the Protestant Cemetary on\nJuly 20th.\nBetween Faubourg St Denis and Fau-\nbourg St Laurent is today the busiest\ncommercial centre of Paris.\nLe Foire St Laurent, one of the two great\ncentres of interest for students of the\nFrench and the Italian Theatre, was\nheld here, the other being the Foire\nSt Germain (see PI. 22)."}, {"page_pdf": 35, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.35", "debut_caractere": 58, "fin_caractere_exclue": 485, "texte": "1632. Hopital de St Lazare given to St.\nVincent de Paul who made it the\ncentre of his missions and received\nlepers there.\n1775-6 Mile. Raucourt is living with Mme.\nSourques on the first floor of a house\nin rue Faubourg St. Denis. The house\nwas close to the Grille St. Denis.\n1781. The Theatre de la Porte St Martin\nor L'Op6ra is built by Lenoir-du Ro-\nmain where the word Martin shows in\nthe extreme right corner of this plate."}, {"page_pdf": 36, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.36", "debut_caractere": 59, "fin_caractere_exclue": 579, "texte": "1688 Tiberio Fiorilli and his second wife\nlived in Cul de Sac des Deux-Portes\nlooking on to the church of Saint\nSauveur. He died in 1688, in another\nhouse in Rue Tiquetonne.\n1739. On October 15 Francesco Roma-\ngnesi died in the old Rue de Bour-\nbon when the plan was just freshly\nengraved and printed.\n1751. Les Demoiselles are living\ntogether in Rue Montmartre a opposite\nHotel d'Uzcte (or d'Usez), It is here that\nthe eldest, Marie makes a conquest\nof the Sieur de Turenne. The youngest\ngoes to a house in Rue Pelican."}, {"page_pdf": 37, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.37", "debut_caractere": 60, "fin_caractere_exclue": 536, "texte": "1540. Hotel de Flandre to 1543, Rue\nCoq-H6ron ; (here spelt Ooqueron).\n1693. Regnard the dramatist has a bouse\nwith a garden in Rue Richelieu.\n1739. Prince de Carignan (1690-1741) while\nliving at Hotel de Soissons, is \" di-\nrecteur-general \" of the Opera. Had\nin his serraglio all les fllles of the\nOpera and a favourite called La\nMariette.\n1739. La Barberina, the very famous\ndancer, was living in Rue Vi-\nvienne ; her protector is Prince de\nCarignan.\n\nContinued on page 142,"}, {"page_pdf": 38, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.38", "debut_caractere": 59, "fin_caractere_exclue": 584, "texte": "1601. 4th Theatre Italien, Petit Bourbon\nconstructed about 1577.\n1614 to 1625. sth Th6&tre Jtalien. Palais\nRoyal. Italian Comici Fideli used it.\n1662, Theatre des Tuileries (1G62-1671),\nBuilt by the Italians Vigarani and\nArmandini of Modena.\n1670. G. B. Lulli builds his house at the\ncorner of Rue des Petits Champs and\nRue Ste. Anne. It can be seen here.\n1673. Moliere dies in the house facing\nthe angle of Rue de Richelieu and\nRue Traverserie: ie, No. 34 Rue\nde Richelieu. (Traversine writes\nAubin).\n\nContinued on page 1421"}, {"page_pdf": 39, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.39", "debut_caractere": 57, "fin_caractere_exclue": 542, "texte": "1721. The young Comte d'Argental, that\ndevoted adorer of Adrienne Lecou-\nvreur, lived in one of the two hou-\nses at the corner of the Quai. Hotel\nde Mailly or Hotel de Belle lie.\n1739. In No. 46 Rue du Bac lived Sa-\nmuel Bernard the Rothschild of the\nday, and died there in 1739 just as\nthis plan was appearing.\n1778. Yoltaire dies in the house at the\ncorner of Rue de Beaune and the\nQuai.\n1740. Sophie Arnould is born in Rue\nLouis Le Grand, parish of St. Roch.\n\nContinued on page 142."}, {"page_pdf": 40, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.40", "debut_caractere": 58, "fin_caractere_exclue": 390, "texte": "Seventeen fatuous Hotels are shown in\nthis plate : amongst those which pos-\nsessed private Theatres are Hotel de\nClermont and Hotel de Villeroi.\n1846 Rue de Bac. Mile. Dorval lives at\nISTo, 110 (once 100 bis). It was here\nWhistler lived at the end of the 19 th\ncentury. The position of the house\nis on the site of Les Convalescents."}, {"page_pdf": 41, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.41", "debut_caractere": 59, "fin_caractere_exclue": 314, "texte": "Hotel des Invalides planned by Henri IV.\n]t was begun in 1671 by Louis XIV\nas a home for old soldiers who, till\nthat time, says Hare, had to beg\ntheir bread on the streets In 1841\nthe body of that old soldier Napoleon\ncame to rest here in the chief\nplace."}, {"page_pdf": 42, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.42", "debut_caractere": 44, "fin_caractere_exclue": 236, "texte": "1735. Two of the famous mills of Mont-\nmartre. All the Miillers go to this\nattractive spot nowadays dressed\nout in all their finery Only two fa-\nmilies seem to have had the 1925\nsense in 1735."}, {"page_pdf": 43, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.43", "debut_caractere": 43, "fin_caractere_exclue": 329, "texte": "When Bretez took the trouble to draw\nthe Mansion which is at the top of\nthis plate near the word \" Sainte\nand Lucas laboured on engraving it\nso neatly, why M. Aubin should not\nhave taken like pains to put a name\nto it puzzles .those of us who like to\nsee others hard at it all the time."}, {"page_pdf": 44, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.44", "debut_caractere": 42, "fin_caractere_exclue": 264, "texte": "In Paris there have been many streets\nnamed Rue Royale. When one reads\nof the Rue Royale of the 18 th century\none must bear in mind this position\nand no other. It is some distance from\nhere to the Madeleine (see Plate 37)."}, {"page_pdf": 45, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.45", "debut_caractere": 43, "fin_caractere_exclue": 359, "texte": "1782-1790. Sophie Arnould is living, in\nRue Royale, at the angle where it\nmeets Rue la Croix Blanche.\nIt was here around the Rue Roy ale that\nFrench actors came to live in the\ntime of Napoleon : Mile. Raucourt in\nRue Roy ale Mile. Mars in Rue Tour\ndes Dames, (Plate 35) Mile Duche-\nnois and Talma in the same street."}, {"page_pdf": 46, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.46", "debut_caractere": 44, "fin_caractere_exclue": 441, "texte": "1683. When Lully left his lionse in Kue\nSt Anne he built one in 1683 in Rue\nde la Magdeleine, Rue Ville d'Eve-\nsque, -wheie he died_(l6B7) being bu-\nried in the Eglise. des Petits-Peres\n(see PI. 28)_ „ . .\nIn 1754 Mile. Montansier lives on 3id\nfloor of a house in Rue St Honor 6\nan the corner nf Hue Neuve dn\nLuxembourg. In 1756 in line St\nThomas du Louvre.\" (see pi. 29),\n\nContinued on page 14.2."}, {"page_pdf": 47, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.47", "debut_caractere": 45, "fin_caractere_exclue": 231, "texte": "Seven swagger Hotels are shown in this\nPlate, one of them (Hotel Charost)\nour British Embassy. Pauline Bona-\nparte lived here once but where\nare the snows of twentyfour .••even\nof 1924 ?"}, {"page_pdf": 48, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.48", "debut_caractere": 43, "fin_caractere_exclue": 336, "texte": "If, a9 I am informed by a historian, the\nPalais Bourbon was built in 1789,\nhow is it that there it is in 1731, top\nleft hand corner of this plate? They\nsay there is a theatrical Exhibition\nbeing held 011 these banks just now/,\nnot to in any way do harm to thea-\ntricals, but just out of habit."}, {"page_pdf": 49, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.49", "debut_caractere": 40, "fin_caractere_exclue": 244, "texte": "Thus ends this stupendous plan, tailing\noff without an effect into a corner in\nswans. But what it was frightened\naway all the swans in the 18th oen-\ntury I have not as yet been able to\ndiscover.\n\nE. G. C."}, {"page_pdf": 50, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 7942, "texte": "NOTES CONTINUED FROM THE\nTEXT BENEATH THE PLATES.\nPlate 19.\nthe Demoiselles Verri&res, Marie Ge-\nnevi&vre Rinteau was born: the\nyounger, Genevievre Claude in 1734.\nLa Rue Michel-le-Comte.\n1700 at No. 1. lived Jean Serouge the\narchitect.\n1480 1492 at No. 8. Jeu de Pnume de la\nFontaine in 1492 at the sign of La\nRose Blanche. Often a Jeu de Paume\nwhen the game had grown out of\nfashion served as an excellent place\nin which to construct a Theatre.\nThis one of 1492 came in 1632-3 to\nbe used as a Theatre, le Th6&tre\nd'Avenet.\n1632. Established by Jacques Avenet. It\nwas closed in 1633 because of the\ncommotion it caused in the narrow\nstreet.\nTo the History of the French\nTheatre every Jeu de Paume which\ncan be spotted is of the utmost im-\nportance.\n1660. The Company of the Hotel de Bour-\ngogne has its abode here and played\nas ThO&tre du Marais till 1673 when\nit was demolished.\n1637 at No. 27. At the back of this\nhouse was a Jeu de Paume de Braque.\n(1637).\n1700 at No. 56. lived Jean Philippe the\narchitect.\nPlate 20.\n1758. Sophie Arnould's father set up an\nInn at Hotel de Lisieux Rue Bethisy\nnear Rue Foss6 St Germain P Aux«\nerrois.\nPlate 21.\n1770. Sophie Arnould is living in Rue du\nDauphin ; she takes a whole house.\nFort d'Eveque where Clairon and many\nan actor and actress were sent to\nreconsider their position.\n1848 (circa). Theatre Cluny, precisely\nwhere we see MATHTJRINS.\n1810. De Musset born Rue des Noyers.\nPlate 22.\n1650. Th&itre de la Croix-Blanche. Rue\nde Bussi.\n1671. Th64tre de l'Hotel GuSnegaud, Rue\nMazarine.\n1671. Acad6mie de Musique. or Opera.\nJeu de paume de Bouteille, Rue Ma-\nzarine.\n1680. Com6die Franchise, Rue Maza-\nrine. Shifts in 1689 to Rue des Fos-\nses Saint Germain des Pr&s, today\nRue Pancienne Com6die.\n1693. Jean Racine lives at Rue Marais\n21 (now Visconti) dying there in\n1699. Previous to that he lives at\nRue des Macons, Sorbonne.\n1720 (?)-1730. Adrienne Lecouvreur lived\nand died at 21 Rue Marais St. Germain.\n1714. Foire Saint Germain to 1718.\nFirst Opera Comique.\n1721. Pr6ville was born in Rue des\nMauvais-Garcjons (St. Suplice).\nSecond Opera Comique.\nFoire Saint Germain.\n1735. Mile. Lamotte (1704-1769) actress,\nliving Rue Mazarine (St. Suplice).\n1736. A new regulation is made to pre-\nvent the carriages blocking up the\nstreets round the Theatres Fran9ais\nand Italienne.\n1773. The large area covered by the\nHotel de Cond6 was bought by the\nState in 1773 011 Sept. 19th and on\nthis site in 1778 was built the Thea-\ntre de l'OdSon by Peyre and Wailly\nat a cost of 1,600,000 livres.\nPlate 28.\n1772. Sophie Arnould is liviDg in the\nPalais Royal not far from where we\nsee on our plan the words 44 Com-\npagnies des Indes \".\n1790. On the site of the Hotel de Lou-\nvois the Theatre Louvois came to be\nbuilt in 1790.\n1816. La Guimard died in Rue M6nars\non the right side when entering by\nthe Rue de Richelieu. The street\ncame to be built by the side of Hotel\nde Menars which is to be seen here,\n1734. P. F. Biancolelli died 18th April\nin Rue Montorgueil about the time\nthat Louis Bretez was drawing his\nhouse.\n1741. Fabio Sticotti a famous Pantalone\ndied in Rue Framboise in December.\n1750. The Caf6 Allemand kept by Madame\nBourette is in the Rue Croix-des-\nPetits-Champs. It was the meeting\nplace of men of letters in 1750.\n1757. Marivaux the dramatist goes to\nlive in the Rue Richelieu at the ap-\npartment of his friend the old maid\nMile de Saint-Jean : he died here in\n1763.\n1762. Carlo Goldoni lived in 1762 near\nthe ltalienne, in 1763 Rue\nMauconseil, and Rue de Richelieu. In\n1793 at No. 1. Rue Pav6e St Sauveur.\nPlate 29.\n1740. Sophie Arnould born in Rue Louis\nle Grand parish of St Roch. (See\nalso Plate 36).\n1740-1749 ? Voltaire lives in Rue des\nClos. Gorgeau.\nIn the 18th century the Rue des Petits\nChamps was the street of the wig-\nmakers.\n1751 (circa) the younger of Les Demoi-\nselles Verrieres goes to a house in\nRue Pelican.\n1756. Mile Montansier lives in Rue St.\nThomas du Louvre.\n1771. Sophie Arnould is living at Rue\nNeuve-des-Petits Champs near the\nPlace Vendome.\nPlate 30.\n1774. Mile. Clairon lives here Hotel de\nValbille ; precisely where the street\nbends and on the lower side.\nPlate S7-\n1755 (circa) the Demoiselles Verri&res\nlive at 24 Rue de la Ville-PEvesque\n(here called l'Eveque). In this house\nthey had a theatre, 'tres-jolie \" in\nWhich were 7 4loges en baldaquins',\nand 4loges grilles ' for those ladies\nwho wished to see unseen. A M.\nd'Epicay supplied the means for this\naffair, and it was all very sumptuous.\n1780-93. Mile. Contant is living at Maison\nDemonvilie in Rue d'Anjoy.\n1773. The Demoiselles Verrieres are liv-\ning in Rue Vert, today Rue Pen-\nthievre.\nPARISH OF SAINT SAUVEUR.\nThe Parish where the Actors of the 17th\n18th centuries like best to live\nwas that of Saint Sauveur.\n1688. Tiberio Fiorilli and his second wife\nlived in Cul de Sac des Deux-Portes\nlooking on to the church of Saint\nSauveur. dying later iu another house\nin Rue Tiquetoune.\n1690. Raymond Poisson the famous Cris-\npin lived in the Rue St. Denis and\ndied there May 10.\n1724. Stefano Balletti was born in Rue\nTirebondim May 14.\n1729. Francesco Visentini died in Rue\ndu Renard 20 April.\n1731. C. Y. Romagnesi died 9th of March\nin Rue Tirebondin.\n1753. The famous Riccoboni died in Rue\nFrangoise, December 6th. The fa-\nvourite streets of the Italian actors\nin this quarter between 1760 and 1771\nwere Rue du Petit-Lion, Rue Com-\ntesse d'Artois, Rue Pavee, Rue Beau-\nrepaire, the Rue Mauconseil and the\nRue St Sauveur.\n1771. A very celebrated actress, Elena\nVirginia Balletti, died in Rue Saint-\nSauveur in 1771. She was the widow\nof Luigi Riccoboni and, like nearly\nall the Italian actors who died in\nParis in the 18th century, she was\nburied in the vaults of the chapel of\nthe Virgin at Saint-Sauveur.\nShe was the great Flamiuia of 1716\nand spoke Latin, Greek, French,\nItalian, Spanish, was a member of\nseveral Academies, wrote comedies\nand was naturalized a Frenchwoman\nwith Riccoboni and their son in 1723.\nWhen in 1787 the church of Saint\nSauveur was destroyed and public\nbaths put in its place this little\ntheatrical centre disappeared.\nMADEMOISELLE RABON.\n1679-1739. Louis-Auguste-Achille-de Har-\nlay-C6ly Comte de C6ly. B. Feb. 4.\n1679. 1). 1739, was Born in Hotel\nde Harlay, Rue de Harlay (See Plates\n10 & 18) (today Rue des Arque-\nbusiers).\nHe took as mistress Mile. Du Ro< her, an\nactress of l'Opera, and goes to live\nin aHotelßuePortefoin,(seePlate 12).\nIn 1729 takes Ml e Rabon, danseuse a\nl'Opera, as his mistress, keeping her\nuntil 1737. She is 15 years old, he\nis 50. She had entered the Ballet Of\nthe Opera Comique at 12 years old.\nOne of the 44 plus jolies femmes de\nParis \" writes Meusnier her biogra-\npher. 4 Large and well made \" but\n4 4 extremement s&che \".\nShe is installed in Rue Cours-la\nReine (see PI tes 39 & 40).\nIn 1737 Mile Rabon passes from Harlay\nto Prince de Carignan. Rabon pro-\nmising 011 the 44 foi d'honnete fille \"\nto remain always faithful to her new\nmaster.\nThe Prince de Carignan after in-\nnumerable annoyances from Rabon,\nher mother, M. de Jouzac a new\nflame of Rabon's, and Leclerc her\nfirst flame, sends her back to her\nmother leaving his gifts with her.\n1738. Later he took a little house for her\n44 au f What else of\nShakespeare's should we lose ? Not\nthe plays with Imogen, with Portia,\nwith Beatrice and with Rosalind.\nAh ...so it is possible for a poet to\nsing like a God or to frisk like a\nPixie without having as model a pretty\nlady egoistically made for mischief.\nLet us see what we should lose.\nNot the Tempest, nor Midsummer\nNight's Dream, nor the Merry Wives\nof Windsor; (Really, as 1 set out to\npen these lines I was assailed by fears\nlest Shakespeare would impeach me,—\nwould bear false witness; would deny\nthe sun, the moon and the.stars. I\nwill go on).\nWe should not lose those seven\nmasterpieces which breathe out for us\nthe credo of humanity: or Twelfth\nNight, the Winter's Tale, Henry Vth,\nRomeo and Juliet, King Lear.... We\nshould have to lose some, for some of\nthese other plays assuredly sound like\ngroans and cries of frantic persons.\nStrange that this—something chaotic—\nshould be the most that these women\ncan inspire ; for they are often women\ngreatly blessed, gifted and beautiful,\nfull of loveliest qualities, ...and with it\nall a preposterous little ego—so little—\ngifted with a little vision yet 44 inspir-\ned \" ; a little brain, yet 44 very intel-\nligent \"; and so little sense of the\nridiculous that they fail to observe that\neven when a great poem is written\naround their little tragedy it ends by\nraising laughter.\nThis is where I arrive on reading\nthe life story of this famous Yang-Kuei-\nFei, first imperial concubine to the\nEmperor Ming Huang (circa 720 A.D.)\nNot at all a charming story—not a\nheroic one— not particularly entertaining;\nwhich contains nothing to surprise, to en-\nchant, or move us to pity or to bid us\ntremble. Yet Mr H. A. Giles in his brief\nForeword speaks of her 44 moving story \",\nof her 44 triumphs \" and her 44 tragedy\".\nHad she come even near to something\nfaintly promising triumph, had she been\na figure truly tragic, we could laugh\nand thrill with her exultation and\ngrieve at her death. That we do not,\nand that we forget her in a few hours,\nrenders the whole history set forth with\nsuch pomp and circumstance not a\nlittle ridiculous.\nFor more tragic figures and more\ntriumphant ones too are to be met with\nin the poor annals of the European\nstage. Of poor little forgotten actresses\nand dancers, singers and chorus girls,\nlovelier histories could be written than\nof this Imperial comedienne celebrated\nby her own countrymen as 44 the most\nartful\" beauty of China, 44 very fond\nof the wine cup\", with notions of\nmurder too, and, withal, an infernal\nnuisance.\nAnd out of this character the dra-\nmatists of China have made a figure\nwhich we are told every Chinese\nactress is ambitious to personate.\nMrs Wu Lein Ten has written us\nthe story with considerable skill and\nBrentanos have printed it well on fine\npaper, illustrated it sufficiently and\nbound it excellently; the price is not\nat all high; the type used is a large\none, and the book will serve its pur-\npose in showing that, if ambition ever\nsuits a woman, it should only be reserved\nfor those who are actresses and can put\nit off with their rouge and powder\nwhen they go home to their nice little\nsupper with the family in Chelsea or\nClichy.\n\nTHE CONSTANT NYMPH.\nMargaret Kennedy. Heinemann. 7j6.\n44 A LL London is talking of it \". All\nJLTJL London would. When shall we\nread on a - Publisher's list that all\nLondon is thinking of a book ? That\nwould be a good day indeed.\nAnd were but one whole street of\nLondon to think about this charming\nwork 1 do not believe that even Miss\nKennedy would mind—which may\nsuggest to you that she lives in that\nstreet; but she doesn't; she is the\nauthoress and she lives down in our\nAlley.\nAll London is talking of this book\nabout a Nymph because it's well done ;\nand secondly because it is actually done\nby some one in England.\nIt is vivid, real; the personsges in\nthe book really speak naturally, though\nnow and again one hears something of\na far-off voice from a strange and\ndear old house in Croisset.\nBut take the book out of London-\navoiding superficial Paris and New\nYork: wander with it up here or down\nthere, and, while no one in his senses\ncould deny the authoress a genuine\nsalute, everyone will wonder what it\nis that London finds to talk about, to\nobject to, or to champion.\nNot the way it is written, to begin\nwith: no one can object to that.\nCertainly not its theme.... Its success\npossibly ? yes, that is what might\nastound London—it must marvel at\nHeinemann and Co for publishing with\nsuccess so excellently told a tale. But\nthen did it marvel at Mr Heinemann\nbefore he became a Company for pub-\nlishing 44 Zuleika Dobson \", the best\ntale in the English Language after Ro-\nbinson Crusoe, and far better written.\nIs it because Miss Kennedy's con-\nservative family, as the 44 New York\nEvening Post\" puts it, feel outraged\nthat she should have written 44 such a\nbook\" ? Do you think it's that ? I\nalmost believe that is the reason why\nour great old London is talking about\nit. Still, after all what does it matter\nprovided Mr Gosse speaks well of it.\n\nOXFORD BOOKS ON THE\nFINE ARTS. Clarendon Press.\nOxford.\nAS handsome a Catalogue as it is\npossible to produce, with exqui-\nsite illustrations. The half tones are\nsuperb and strengthen our belief that\nit is still far and away the best pro-\ncess in the world by which to to repro-\nduce anything with exactness."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c056", "article_bluemountain": "bmtnaau_1925-07_01#c056", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.7.2", "titre_corps": "DENKMALER DES THEATERS", "titre_sommaire": "DENKMALER DES THEATERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.53", "debut_caractere": 15, "fin_caractere_exclue": 423, "texte": "DENKMALER DES THE A TERS.\nMONUMENTA SCENICA. The\nArt of the Theatre. Stage Settings,\nDecorations, Theatrical Costumes, Pa-\ngeants of all times and countries:\nFrom the Originals in the 44 Thea-\ntrical Collection \" of the Vienna Na-\ntional Library, the Albertina and other\nVienna Collections.\nPrice £ 8-8-0 per Volume.\nVolume I by L. O. Burnacini\n(1636-1797), Theatrical Engineer\nto Emperor Leopold I, £ 8-8-0."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c057", "article_bluemountain": "bmtnaau_1925-07_01#c057", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.7.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "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": 53, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.53", "debut_caractere": 425, "fin_caractere_exclue": 2663, "texte": "E. G. C.\nMONUMENTA SCENICA is a\nmonument indeed. At present\nI have seen only the first stone, but\nit is colossal. I reserve till the next\nnumber of 44 The Mask \" my review\nof it together with volume or stone\nNo. 2, which promises to be ready\nshortly.\nIn all there will be twelve volumes,\nand Mr E. P. Goldschmidt of 45\nOld Bond Street is the English re-\npresentative of the Viennese Gesells-\nchaft zur Herausgabe der Denkmaler\ndes Theaters.\nI was very glad to read the tributes\nto this work from Professor Max Rein-\nhardt and Dr Richard Strauss.\nIn the first three volumes are these\ncontents:—\nVolume I gives a selection of twenty\ncostume-designs by L. O. Burnacini\n(1636-1707) Theatrical Engineer to\nEmperor Leopold I, painted in minia-\nture, from a volume containing 160\ndrawings of various costumes and fancy-\ndress for the Imperial Theatre, here\nreproduced in colours, gold and silver.\nThese designs by Burnacini are some\nof the most splendid examples of Ba-\nroque-costume from the Wien Na-\ntional Library.\nVolume 11. contains Stage Architec-\nture and Architectural Phantasies, some\n22 designs reproduced from waterco-\nlours, drawings and engravings of the\nseventeenth, eighteenth and nineteenth\ncenturies. And Volume 111 shows us\nthe Garden-Theatre in England, France\nand Spain, in the sixteenth and seven-\nteenth centuries, when the tendency\nwas to turn the garden into a theatre,\neither for actual performances or in the\nsense of making the garden itself ap-\npear as an ideal theatre. And this is\ndemonstrated by views and prints of\nthe period, notably a unique waterco-\nlour of an English seventeenth century\ngarden in the Wien Collection, en-\ngravings of the Buen-Ritiro-gardens and\nother delights.\nAll these wonders come from the\nWien National Library and are gi-\nven to us for the first time. No one\nwho has a Theatrical Library of any\nimportance can omit to add to it\nsuch an item, expensive though it be.\nI am told the price is rising, so now\nis the most favourable moment to make\narrangements with the publishers for\nsupplying it. I already see the volumes\nin my mind's eye in the collections\nof Mr Massey of Toronto, the British\nDrama League, and Sir Johnstone\nForbes Robertson, ever so sympathetic\nto al! that is scenical."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c058", "article_bluemountain": "bmtnaau_1925-07_01#c058", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.7.4", "titre_corps": "WIENER SZENISCHE KUNST by Dr Joseph Gregor", "titre_sommaire": "WIENER SZENISCHE KUNST by Dr Joseph Gregor", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.53", "debut_caractere": 2665, "fin_caractere_exclue": 5683, "texte": "WIENER SZENISCHE KUNST.\nDie Theater decoration der letzten\ndrei Jahrhundert nach stilprinzipien\ndargestellt. 60 plates and 8 designs\nin the text. by Dr Joseph Gregor.\nWiener drudge. Wien.\nDR Gregor is the only man who\ncan tell us what we want to\nlearn about the theatre decors of the\nlast three hundred years as revealed\nin Wien because he is in Wien and\nhas at his command all the manuscripts\nand books of the National Library.\nBut it is one thing to arrive at so\nenviable a position; it is another to\nremember the Theatre when you get\nthere.\nTo jog the elbow of anyone in the\nBritish Museum is a thing not to be\ndreamed of—but one sometimes imagines\n(for what reason I know not) that the\nPlayhouse and play acting are things\nso dear to humanity all the world over\nthat no one will forget to keep our\npublic well supplied with all the\nbooks it needs—and it needs all it\ncan get from the store-houses, the mu-\nseums and big public libraries, and\nwritten by their guardians.\nThis book by Dr Gregor is a histo-\nrical work of importance which he il-\nlustrates by reproductions of the trea-\nsures which he guards so well at the\nNational Library in Wien : or Vienna\nas the strangers so strangely call it.\nI suppose that some day Londres\nwill make a real effort ... and then.\nYou must get this book at once to\nsee for yourself how good it is:—l am\nnot going to make extracts nor reveal\nmy ignorance by passing any opinion on\nthe work: for there are so many people\nlurking behind the bush, and the less\nwe talk about what counts the better\njust now. Big things are about to\nhappen in the Theatrical world before\nvery long, and I think that they are\nnot going to happen in England al-\nthough Englishmen may help bring\nthem about.\nLondon continues to reveal ever\nmore and more ignorance about Thea-\ntrical matters.\nMr Bernard Shaw's plays have their\nfirst hearing in a small theatre in Bir-\nmingham. Mrs Patrick Campbell has\nto stay in the provinces; Mr Fred\nTerry also. These three facts alone\nproclaim something of the ineptitude in\nLondon regarding Theatricals.\nAnd I leave you to make a list of\nthose who have represented England\nin the new movement (a movement\nwhich is before long to come to some-\nthing worth while) and to ask your-\nselves what London has done to secure\nthe services of these men.\nWhat does London do ? At most\nit allows an 44 Old Vic \"to exist; it\nthen urges a second 44 Old Vic\" to\nexist; and while these two funny old-\nfashioned nothings are put up to scare\naway the crows, the Phoenix Society,\nthe Stage ditto, Pioneer ditto, three\nhundred ditto—and some ten or twelve\nmore little societies are all encouraged\nto get in each other's way.\nLet someone who knows what he\nwants appear and all the little socie-\nties will wonder what is wrong with\ntheir gallant six hundred that they\ndon't ride back again.\nWell, Mr Ben Greet has been to\nParis so that's all right. Mr Gordon\nCraig is not exhibiting any designs or\nmodels in the Paris Exhibition so that\ntoo is all right. And now let us wait\nfor the rain."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c059", "article_bluemountain": "bmtnaau_1925-07_01#c059", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "146", "image_debut": 53, "image_fin": 54, "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=bmtnaau192507-01.2.7.5", "titre_corps": "SIMS REEVES by Charles E.Pearce", "titre_sommaire": "SIMS REEVES by Charles E.Pearce", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.53", "debut_caractere": 5685, "fin_caractere_exclue": 6095, "texte": "SIMS REEVES by Charles E.Pearce.\nStanley Paul. 16/—net.\nTHE NEW WORLD OF THE\nTHEATRE 1923-1924 by J. T.\nGrein. Hopkinson & Co. 15/—net.\nTHIS Sims Reeves is that singer to\nwhom Berlioz, one of the royal\nline, gave the title of \" the divine\nTenor\". This was in 1848.\nMr Chorley, the critic of the \"Athe-\nneum \", on the other hand said that\n\" the shake (indispensable to a Hand-\nelian grace) was missing\" and that"}, {"page_pdf": 54, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4940, "texte": "14 it must be forthcoming if Mr Reeves\nintends to become our great oratorio\nsinger This also in 1848. It is\nin away the sort of thing Mr Grein,\nthe author of 44 The New World of\nthe Theatre \" would write.\nSays Mr Pearce in his very enter-\ntaining and well-done book, 44 Mr\nChorley had at that period not shaken\noff his pedantry \". He is as critical\nof Handel as Shaw, when critic once,\nwas of Shakespeare; calls the Judas\noratorio 44 strangely patchy\", 44 not\none first class song in it \"; considers\n44 See the conquering hero\" one of\nHandel's after-thoughts. This Chorley\nasserts that Reeves employed falsetto.\nOh, Choi ley is typical of that poor\ncritic terrified of his London ; that is\na nasty word to fling at a fine tenor\nand Chorley flings itf ...and quickly\nturns to pretend to be looking across\nthe road at something else.\nAgain he tells London that on\nMarch 21 st Mr Reeves's methods of\nproducing his tone and phrasing stand\nin need of refinement and restraint.\n44 Chorleysays Mr Pearce, 44 was\nprejudiced against Verdi, Schumann\nand Wagner \".\nNow were we to say that Mr Grein\nis prejudiced against some of the best\nmen in the modern theatre—what\nwould it amount to ? This: that he is\n%Jtrue critic.... another Chorley.\nyou be prejudiced for and\nwhat use in the critical faculty?\nAnd what great use in criticism anyhow ?\nI fear very little.\nYet Mr Grein brings out his book\nas though it mattered a great deal.\nThe truth is that critics, often being\nwriters, (as was Chorley, as is Mr\nGrein), take themselves a trifle too\nseriously.\nWriting privately to Reeves the\nseriousness comes out.\n441 knowsays Chorley, 44 how\n44 disagreeable I must be sometimes, too\n44 thoroughly well, not to feel a very\n44 great pleasure in the cases where I\n44 know I am not misunderstood and\n44 not thought to be disagreeable out\n44 of a wicked disposition \".\nThus Chorley in private ....devilish\nserious : he has to be 44 disagreeable \" in\nfront of his vast public of readers ...he\nhas to put on the critic. The salary\ndemands it ! the snobs expect it. Poor\ncritic; and this is all the work of the\nstupid part of a city: for were the witty\npart to have its influence on a critic he\ncould but be ninety-nine per cent more\nhuman and make fun of himself when\nhe feels he must be 44 disagreeable \".\nHow entertaining Mr Pearce can be\nin his books. Everyone must know\nhis 44 The Amazing Duchess 44 Polly\nPeachum \", and 44 Madame Vestris \";\nall three issued by Stanley Paul. If\nanyone reading this doesn't, let him get\ncopies ; they bristle with enjoyable pages.\nAnd of course Mr Grein, in his\n44 New World of the Theatre\", has\ndozens of enjoyable pages; but he is\nnot any happier than Chorley as a\ncritic. He takes himself rather less se-\nriously, which is very much to be able\nto say, but he takes his readers far less\nseriously. He too often wastes our time\nflattering the wrong people, and he\nseems not to be very well informed\nas to who's who in the 44 New World\nof the Theatre \".\nWhen not saying that he 44 can\nhark back well nigh half a century \"\nto the time of Fanny Ellsler and Ta-\nglioni, he harks back to about 1900,\nand that's a quarter of a century; yet\nhe calls his book 44 The New World\nof the Theatre \".\nWhen he does praise a modern\nplaywright or performer, he too often\npicks out one of those who should not\nbe praised. He writes well of Bern-\nhardt, yet compares her to 44 her only\ncontemporary peers .... Eleonora Duse\nand Clara Ziegler. \" Mine the italics.\nRistori, he says, compared with Sarah\nBernhardt was of 44 the second plane \".\nAs is only natural he is a firm ad-\nmirer of many a German performer,\nproducer and writer: and in this he\nshows that when he likes he can\nwithstand the temptation to write what\nhis London public will like.\nMany a useful fact is recorded in\nhis book, and only now and again is\nhe incorrect; as, for example, when\nhe refers to 44 the large means\" put\nat the command of the late Herbert\nTrench when Lord Howard de Walden\nand some others started the poet-dra-\nmatist on his career at the Haymarket\nTheatre.\nHe is firm about the necessity for\nsupporting home talent.\nOn the day when he enjoyed 44 a\nrare feast of art and education\" he\nsays 44 all the numbers were devoted\nto our home-grown masters : Purcell,\nQuilter, Elgar, Sullivan, O'Neil, Co-\nwen, Germain\". I don't like that\nword 44 our\". I once knew an En-\nglishman who for twenty years had\nlived on and off in France. He wrote\nfor a journal. Mr Grein has lived at\nleast twenty years, on and off, in Eng-\nland, and writes for journals. My\nfriend wrote of the Theatre ; but never\nonce, (he told me this) was he so\ntactless as to speak of 44 our country \",\n44 our actors \", for, said he, 44 I am a\nguest in all countries but my own and\nI like to make a point of never for-\ngetting this \".\nMr Grein is a guest in England,\nwhether he has become naturalized or\nnot, and it would become him to re-\nmember it.\nHis book is excellently printed and\nnicely bound*"}]}, {"article_id": "bm-bmtnaau-1925-07-01-c060", "article_bluemountain": "bmtnaau_1925-07_01#c060", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 54, "image_fin": 54, "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=bmtnaau192507-01.2.7.6", "titre_corps": "THE RETROSPECT OF FRANCOIS VILLON by George Heyer", "titre_sommaire": "THE RETROSPECT OF FRANCOIS VILLON by George Heyer", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.54", "debut_caractere": 4942, "fin_caractere_exclue": 6628, "texte": "THE RETROSPECT OF FRAN-\nCOIS VILLON by George Heyer.\nOxford University Press. 4/6 net.\nTRANSLATION must be an art—it\nseems so easy and is, I suppose,\nabominably difficult.\nThis translation has its original\nFrench version printed side by side;\nand, knowing so few of the difficulties,\nI will ask why, in the 44 Ballade des\nDames du Temps Jadis\" and 44 des\nSeigneurs \" too, does our translator\nM. Heyer miss that word 44 mais\"\nwhich returns eight times in those lines,\n44 Mais ou sont les neiges d' autan \"\nand 44 mais ou est le preux Charle-\nmaigne \". Was Villon quite indifferent\nabout his placing of words when he\nwrote after a list of names,\n44 Ou sont ilz, Vierge souveraine ?\nMais ou sont les neiges d'autan ?\nDoes everyone write French like\nVillon—has everyone the same con-\ntempt for pretty phrases ? It was doubt-\nless a disadvantage to him when\nliving, this same ability to speak sense\nneither wittily nor lugubriously, but as\nit was intended to be spoken :—for to\nwhat other purpose did the Gods give\nmankind speech ?\nHow grave, how indifferent he is\nabout life; ...and how else did the\nGods intend man to look at this gift\nof theirs. And, if mankind found it\nhelped at all to destroy this wise being\ngifted with the tongue of a man if not\nan angel, the Gods doubtless took him\nto them with a welcome and a 44 not\nso bad a guess, not so bad \"•\nWe get at something of this when\nreading the French and popping across\nto see if the English helps : getting what\nwe want—the hand at the stirrup, and\nthen back to the French. Quite a\ntreat. And all for four and sixpence.\nHow some authors roll in riches and\nhow some starve: how odd this is.\nG.B.S. Barrie, Villon. Four and\nsixpence!"}]}, {"article_id": "bm-bmtnaau-1925-07-01-c061", "article_bluemountain": "bmtnaau_1925-07_01#c061", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "147", "image_debut": 54, "image_fin": 55, "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=bmtnaau192507-01.2.7.7", "titre_corps": "YANG KUEI-FEI by Mrs Wu Lein Ten", "titre_sommaire": "YANG KUEI-FEI by Mrs Wu Lein Ten", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.54", "debut_caractere": 6630, "fin_caractere_exclue": 6819, "texte": "YANG KUEI-FEI. The most fa-\nmous beauty of China, by Mrs Wu\nLein Ten, Brentano. London. 8/6.\nTHIS is what we are told\n44 Yang Kuei-Fei was the favou-\nrite of one of the greatest Emperors of"}, {"page_pdf": 55, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 3969, "texte": "the Tang Dynasty, and for twenty\nyears she was the power behind the\nthrone Which sounds impressive\nand amounts to just a row of pins.\nFor I have read the book and perceive\nthat she was merely the nuisance\nbehind the times.\nThe times may perhaps some day\nget on: at present owing to the se-\nveral escaped Yang Kuei-Feis and\ntheir increasing importance, the times\nseem to be delaying a bit.\nThis i 4 Chinese Cleopatra\" as she\nis called, appeals to Mrs Wu Lien\nTen, who wishes to show that in most\nmatters of importance, it is best to\nentrust women with practically nothing\nto do, to keep them from meddling,\nfrom becoming celebrated for meddling,\neven though it be to the unfortunate\nloss of a few fine poems such as Li\nPo's 44 The everlasting wrong\" and\nShakespeare's 44Antony and Cleopatra \".\nBut am I too hasty > What else of\nShakespeare's should we lose ? Not\nthe plays with Imogen, with Portia,\nwith Beatrice and with Rosalind.\nAh ...so it is possible for a poet to\nsing like a God or to frisk like a\nPixie without having as model a pretty\nlady egoistically made for mischief.\nLet us see what we should lose.\nNot the Tempest, nor Midsummer\nNight's Dream, nor the Merry Wives\nof Windsor; (Really, as 1 set out to\npen these lines I was assailed by fears\nlest Shakespeare would impeach me,—\nwould bear false witness; would deny\nthe sun, the moon and the.stars. I\nwill go on).\nWe should not lose those seven\nmasterpieces which breathe out for us\nthe credo of humanity: or Twelfth\nNight, the Winter's Tale, Henry Vth,\nRomeo and Juliet, King Lear.... We\nshould have to lose some, for some of\nthese other plays assuredly sound like\ngroans and cries of frantic persons.\nStrange that this—something chaotic—\nshould be the most that these women\ncan inspire ; for they are often women\ngreatly blessed, gifted and beautiful,\nfull of loveliest qualities, ...and with it\nall a preposterous little ego—so little—\ngifted with a little vision yet 44 inspir-\ned \" ; a little brain, yet 44 very intel-\nligent \"; and so little sense of the\nridiculous that they fail to observe that\neven when a great poem is written\naround their little tragedy it ends by\nraising laughter.\nThis is where I arrive on reading\nthe life story of this famous Yang-Kuei-\nFei, first imperial concubine to the\nEmperor Ming Huang (circa 720 A.D.)\nNot at all a charming story—not a\nheroic one— not particularly entertaining;\nwhich contains nothing to surprise, to en-\nchant, or move us to pity or to bid us\ntremble. Yet Mr H. A. Giles in his brief\nForeword speaks of her 44 moving story \",\nof her 44 triumphs \" and her 44 tragedy\".\nHad she come even near to something\nfaintly promising triumph, had she been\na figure truly tragic, we could laugh\nand thrill with her exultation and\ngrieve at her death. That we do not,\nand that we forget her in a few hours,\nrenders the whole history set forth with\nsuch pomp and circumstance not a\nlittle ridiculous.\nFor more tragic figures and more\ntriumphant ones too are to be met with\nin the poor annals of the European\nstage. Of poor little forgotten actresses\nand dancers, singers and chorus girls,\nlovelier histories could be written than\nof this Imperial comedienne celebrated\nby her own countrymen as 44 the most\nartful\" beauty of China, 44 very fond\nof the wine cup\", with notions of\nmurder too, and, withal, an infernal\nnuisance.\nAnd out of this character the dra-\nmatists of China have made a figure\nwhich we are told every Chinese\nactress is ambitious to personate.\nMrs Wu Lein Ten has written us\nthe story with considerable skill and\nBrentanos have printed it well on fine\npaper, illustrated it sufficiently and\nbound it excellently; the price is not\nat all high; the type used is a large\none, and the book will serve its pur-\npose in showing that, if ambition ever\nsuits a woman, it should only be reserved\nfor those who are actresses and can put\nit off with their rouge and powder\nwhen they go home to their nice little\nsupper with the family in Chelsea or\nClichy."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c062", "article_bluemountain": "bmtnaau_1925-07_01#c062", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "image_debut": 55, "image_fin": 55, "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=bmtnaau192507-01.2.7.8", "titre_corps": "THE CONSTANT NYMPH by Margaret Kennedy", "titre_sommaire": "THE CONSTANT NYMPH by Margaret Kennedy", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.55", "debut_caractere": 3971, "fin_caractere_exclue": 5826, "texte": "THE CONSTANT NYMPH.\nMargaret Kennedy. Heinemann. 7j6.\n44 A LL London is talking of it \". All\nJLTJL London would. When shall we\nread on a - Publisher's list that all\nLondon is thinking of a book ? That\nwould be a good day indeed.\nAnd were but one whole street of\nLondon to think about this charming\nwork 1 do not believe that even Miss\nKennedy would mind—which may\nsuggest to you that she lives in that\nstreet; but she doesn't; she is the\nauthoress and she lives down in our\nAlley.\nAll London is talking of this book\nabout a Nymph because it's well done ;\nand secondly because it is actually done\nby some one in England.\nIt is vivid, real; the personsges in\nthe book really speak naturally, though\nnow and again one hears something of\na far-off voice from a strange and\ndear old house in Croisset.\nBut take the book out of London-\navoiding superficial Paris and New\nYork: wander with it up here or down\nthere, and, while no one in his senses\ncould deny the authoress a genuine\nsalute, everyone will wonder what it\nis that London finds to talk about, to\nobject to, or to champion.\nNot the way it is written, to begin\nwith: no one can object to that.\nCertainly not its theme.... Its success\npossibly ? yes, that is what might\nastound London—it must marvel at\nHeinemann and Co for publishing with\nsuccess so excellently told a tale. But\nthen did it marvel at Mr Heinemann\nbefore he became a Company for pub-\nlishing 44 Zuleika Dobson \", the best\ntale in the English Language after Ro-\nbinson Crusoe, and far better written.\nIs it because Miss Kennedy's con-\nservative family, as the 44 New York\nEvening Post\" puts it, feel outraged\nthat she should have written 44 such a\nbook\" ? Do you think it's that ? I\nalmost believe that is the reason why\nour great old London is talking about\nit. Still, after all what does it matter\nprovided Mr Gosse speaks well of it."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c063", "article_bluemountain": "bmtnaau_1925-07_01#c063", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "image_debut": 55, "image_fin": 55, "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=bmtnaau192507-01.2.7.9", "titre_corps": "OXFORD BOOKS ON THE FINE ARTS", "titre_sommaire": "OXFORD BOOKS ON THE FINE ARTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.55", "debut_caractere": 5828, "fin_caractere_exclue": 6135, "texte": "OXFORD BOOKS ON THE\nFINE ARTS. Clarendon Press.\nOxford.\nAS handsome a Catalogue as it is\npossible to produce, with exqui-\nsite illustrations. The half tones are\nsuperb and strengthen our belief that\nit is still far and away the best pro-\ncess in the world by which to to repro-\nduce anything with exactness."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c064", "article_bluemountain": "bmtnaau_1925-07_01#c064", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "148", "image_debut": 55, "image_fin": 56, "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=bmtnaau192507-01.2.8", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.55", "debut_caractere": 6137, "fin_caractere_exclue": 6648, "texte": "MAGAZINES.\n\nTHE CALENDAR Of Modem\nLetters. 1 Featherstone Buildings,\nHigh Holborn, London. /16 monthly.\n44 HTHE Calendar \" quite convinces\nA me of one thing. This:—that\nunless a novelist be of an overwhelming\npersonality, a Dumas or a Dostoevsky,\nit is better to go immediately to school\nwith Flaubert, An ability to write\nout your own personal experiences,\nto blab of persons you have casually\nmet, half known and not troubled\nto know further, seems to me to be\ninsufficient to deserve the title of no-\nvelist."}, {"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 6236, "texte": "The first numher of 44 The Calen-\ndar \" is most interesting and lively,\nentertaining and carefully done ; and I\nhope it will go on. I see no\nreason why it should not, except that\nit lays down no programme. It states\nthis quite clearly. This may be all to\nthe good—to the good long life be-\nfore it; but a programme has its uses.\n44 The Calendar\" means, I suppose,\nthat it wants to grow, and as it grows\nwill leave on-lookers to guess what it\nis growing into, what for, and where\nit will toddle when two years old and\nwhere stray when six. But can any\njournal ever be considered as quite so\nyoung as that ? and 44 The Calendar \"\nis awful wise for its age.\nCan a journal with young men of\nthirty-eight and forty as its standbys,\nbe allowed to slip into the Arena\nwithout a ticket, without any statement\nof where it is going—and why it\ncomes in ?\nThis first number contains the first\npart of a novel by D. H. Lawrence\ncalled 44 The Princess \" ; three poems\nby Robert Graves; an essay on Poe's\nAnalysis of Inspiration by Douglas\nGarman : a scrutiny of Barrie by Rick-\nword ; nine pages about Dostoevsky\nand Pauline Souslow ; one of A. E.\nCoppard's short stories : a bit by Sieg-\nfried Sassoon: Comments and Reviews:\none review being by Bertrand Russell:\nanother by W. G. Turner: while\nHuxley, Wyndham Lewis and Desmond\nMacCarthy are to figure later in the\nprogramme, at present, not declared.\nI do not know if the Literary world\ncan be likened to the Theatrical world,\nbut it seems to me that it must cost a\nbit to bring out a Literary Magazine.\nIt costs a bit to run ten Theatres,\nSuppose one magazine and one theatre,\nof what we will call the advanced and\nmore independent kind, each costs\n£5OO per year; and there are, I sup-\npose, some six to twenty such literary\nmagazines in England, There must be\ntwelve anyhow. There are I suppose\na like number of Theatres comparable\nwith these Literary Magazines. Advan-\nced they are called; let us rather call\nthem good.\nWell, if there be twelve good ma-\ngazines, why ? Why not two ? Why\ndo not these men who have the energy\nto bring them out and pay for them\ncombine ? Why twelve good little\ntheatres and theatre groups ? why not\ncombine and create two ?\nLooking at 44 The Calendar \" I\nthought of how good it was: thought\nof the 44 Adelphi \", of the 44 Mercury \",\nof the44 Chapbook of the rest. Why\nnot combine? why this watertight com-\npartment business? And the twelve\ntheatres ? Bah\n\nTHE DIAL : Monthly. $ 5. a year.\n/52 West 13th St, New York-\nSEEING on the Contents List of a\nrecent number of 44 The Dial \"\nthe announcement that I should find\ninside a gouache by Pablo Picasso on\nthe subject 4 King Lear *, 1 was as\nexcited as I should be were I seated\nin a theatre awaiting the rise of the\ncurtain on a performance of a play by\nIrving.\nKing Lear means King Lear,\nbut to Pablo something less. In fact\nnothing at all like King Lear. Why\nshould 1 be made to recognize King\nLear and his Fool in the 44 Dial \"\nreproduction of a gouache by Pi-\ncasso ? It represents a young man in a\nbeard dressed in a tight-fitting crushed-\nstrawberry coloured affair, seated, with\na hand-organ in his lap, and at his\nside by his feet sits a bit of a boy of\nsome four to five years old dressed in\na harlequin's suit, very neat and tidy,\nwith a little frill of lace at the neck.\nNot King Lear and not his Fool.\nWhy then call it King Lear ? Why\nnot call it Mr Barnum or Mrs Besant?\nWhy not call it King Lear—exactly for\nthe reason that 4 The Dial ' is not\ncalled 44 The Cat\" or 44 I he Mpnk\" :\nSince any name wont do, this Lear\n(which I take it was never delibera-\ntely made to represent Lear) could\nquite as easily have been labelled 44 At\na fair \", or 44 two figures \", or even\n4< Goodbye my fancy \".\nThe two woodcuts by Lucien Jac-\nques seem to me to be uncommon!/\npoor. I have always felt that I could\ndo that (if that's all that a woodcut\nmeans) very easily : so easily, that 1\nthink at any rate it would be the first\nphase of woodcutting and one I would\nI hope soon pass through get over\nand done with before exhibiting\nbefore offering for sale.\nTo get a good woodcut I have to\nturn to the advertisements, and there\nI find a tiny one by Masereel.\nBut 44 The Dial \" is not to be spo-\nken ill of because a title is wrong and\ntwo woodcuts are dull. Not even\nwill its dramatic Criticism make me\nfind fault. For 44 The Dial \" is so\noften full of very interesting things,\nand is so wellprinted, and makes for\ngood all round.\nIts Notes on the Theatre should\nperhaps be written by some one able\nto find out something worth praising.\nMr Seldes writes his bit nicely, but\nseems too bored by Theatricals to\ntake pains to find some of the ge-\nnuine kind : and I'm sure if he look-\ned somewhere out of New York he'd\nfind them.\n\nTHE LITERARY DIGEST. 354-\n360 Fifth Avenue. New York•\nTHIS journal is alway a delight.\nWhether it appeared earlier than\n44 Current Opinion \" and the 44 Re-\nview of Reviews \" I don't know.\nThe three are all alike in their abi-\nlity to entertain. They are the three\nVariety Shows of our English speak-\ning Literary and Political world.\nThe 44 Literary Digest \" and 44 Re-\nview of Reviews \" 1 like best, for I\nsee them regularly and that speaks for\nitself. I can't quite take to a journal\nI don't see. Why hide journals\nbehind the hills ? It's the fault I find\nwith 44 The Mask \", a journal which\nmight well be rechristened 44 The\nViolet \".\nBut 44 The Literary Digest \" is most\namazingly well edited, ....done as well\nas the London Coliseum is managed.\nMr. King and Sir Oswald Stoll have the\nsame genius for doing a thing just as\nwell as it is possible to do it.\n\nTHE BERMONDSEY BOOK.\n2s. Monthly. Heinemann. London<\nTHE BERMONDSEY BOOK IS\nnow in its second volume, and,\nbeginning with its June number (Vol. 11,\nNo. 3), is being published by Messrs.\nHeinemann.\nThis last number contains a cartoon,\n44 The Boy \", by Max Beerbohm, an\narticle by Yoi Maraini on Emilio\nCecchi, that Italian writer who has so\noften served, both by his essays and\ntranslations, as a 44 link between English\nliterature and the Italian public \": a\ncontribution by 44 Bonaventura \" on the\nthird Biennial Exhibition in Roma,\nmaking special reference to the wood\nengravings of Mr. Gordon Craig; and\nother interesting items."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c065", "article_bluemountain": "bmtnaau_1925-07_01#c065", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "148", "image_debut": 55, "image_fin": 56, "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=bmtnaau192507-01.2.8.1", "titre_corps": "THE CALENDAR OF MODERN LETTERS", "titre_sommaire": "THE CALENDAR OF MODERN LETTERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.55", "debut_caractere": 6149, "fin_caractere_exclue": 6648, "texte": "THE CALENDAR Of Modem\nLetters. 1 Featherstone Buildings,\nHigh Holborn, London. /16 monthly.\n44 HTHE Calendar \" quite convinces\nA me of one thing. This:—that\nunless a novelist be of an overwhelming\npersonality, a Dumas or a Dostoevsky,\nit is better to go immediately to school\nwith Flaubert, An ability to write\nout your own personal experiences,\nto blab of persons you have casually\nmet, half known and not troubled\nto know further, seems to me to be\ninsufficient to deserve the title of no-\nvelist."}, {"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 2426, "texte": "The first numher of 44 The Calen-\ndar \" is most interesting and lively,\nentertaining and carefully done ; and I\nhope it will go on. I see no\nreason why it should not, except that\nit lays down no programme. It states\nthis quite clearly. This may be all to\nthe good—to the good long life be-\nfore it; but a programme has its uses.\n44 The Calendar\" means, I suppose,\nthat it wants to grow, and as it grows\nwill leave on-lookers to guess what it\nis growing into, what for, and where\nit will toddle when two years old and\nwhere stray when six. But can any\njournal ever be considered as quite so\nyoung as that ? and 44 The Calendar \"\nis awful wise for its age.\nCan a journal with young men of\nthirty-eight and forty as its standbys,\nbe allowed to slip into the Arena\nwithout a ticket, without any statement\nof where it is going—and why it\ncomes in ?\nThis first number contains the first\npart of a novel by D. H. Lawrence\ncalled 44 The Princess \" ; three poems\nby Robert Graves; an essay on Poe's\nAnalysis of Inspiration by Douglas\nGarman : a scrutiny of Barrie by Rick-\nword ; nine pages about Dostoevsky\nand Pauline Souslow ; one of A. E.\nCoppard's short stories : a bit by Sieg-\nfried Sassoon: Comments and Reviews:\none review being by Bertrand Russell:\nanother by W. G. Turner: while\nHuxley, Wyndham Lewis and Desmond\nMacCarthy are to figure later in the\nprogramme, at present, not declared.\nI do not know if the Literary world\ncan be likened to the Theatrical world,\nbut it seems to me that it must cost a\nbit to bring out a Literary Magazine.\nIt costs a bit to run ten Theatres,\nSuppose one magazine and one theatre,\nof what we will call the advanced and\nmore independent kind, each costs\n£5OO per year; and there are, I sup-\npose, some six to twenty such literary\nmagazines in England, There must be\ntwelve anyhow. There are I suppose\na like number of Theatres comparable\nwith these Literary Magazines. Advan-\nced they are called; let us rather call\nthem good.\nWell, if there be twelve good ma-\ngazines, why ? Why not two ? Why\ndo not these men who have the energy\nto bring them out and pay for them\ncombine ? Why twelve good little\ntheatres and theatre groups ? why not\ncombine and create two ?\nLooking at 44 The Calendar \" I\nthought of how good it was: thought\nof the 44 Adelphi \", of the 44 Mercury \",\nof the44 Chapbook of the rest. Why\nnot combine? why this watertight com-\npartment business? And the twelve\ntheatres ? Bah"}]}, {"article_id": "bm-bmtnaau-1925-07-01-c066", "article_bluemountain": "bmtnaau_1925-07_01#c066", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "148", "image_debut": 56, "image_fin": 56, "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=bmtnaau192507-01.2.8.2", "titre_corps": "THE DIAL", "titre_sommaire": "THE DIAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "debut_caractere": 2428, "fin_caractere_exclue": 4742, "texte": "THE DIAL : Monthly. $ 5. a year.\n/52 West 13th St, New York-\nSEEING on the Contents List of a\nrecent number of 44 The Dial \"\nthe announcement that I should find\ninside a gouache by Pablo Picasso on\nthe subject 4 King Lear *, 1 was as\nexcited as I should be were I seated\nin a theatre awaiting the rise of the\ncurtain on a performance of a play by\nIrving.\nKing Lear means King Lear,\nbut to Pablo something less. In fact\nnothing at all like King Lear. Why\nshould 1 be made to recognize King\nLear and his Fool in the 44 Dial \"\nreproduction of a gouache by Pi-\ncasso ? It represents a young man in a\nbeard dressed in a tight-fitting crushed-\nstrawberry coloured affair, seated, with\na hand-organ in his lap, and at his\nside by his feet sits a bit of a boy of\nsome four to five years old dressed in\na harlequin's suit, very neat and tidy,\nwith a little frill of lace at the neck.\nNot King Lear and not his Fool.\nWhy then call it King Lear ? Why\nnot call it Mr Barnum or Mrs Besant?\nWhy not call it King Lear—exactly for\nthe reason that 4 The Dial ' is not\ncalled 44 The Cat\" or 44 I he Mpnk\" :\nSince any name wont do, this Lear\n(which I take it was never delibera-\ntely made to represent Lear) could\nquite as easily have been labelled 44 At\na fair \", or 44 two figures \", or even\n4< Goodbye my fancy \".\nThe two woodcuts by Lucien Jac-\nques seem to me to be uncommon!/\npoor. I have always felt that I could\ndo that (if that's all that a woodcut\nmeans) very easily : so easily, that 1\nthink at any rate it would be the first\nphase of woodcutting and one I would\nI hope soon pass through get over\nand done with before exhibiting\nbefore offering for sale.\nTo get a good woodcut I have to\nturn to the advertisements, and there\nI find a tiny one by Masereel.\nBut 44 The Dial \" is not to be spo-\nken ill of because a title is wrong and\ntwo woodcuts are dull. Not even\nwill its dramatic Criticism make me\nfind fault. For 44 The Dial \" is so\noften full of very interesting things,\nand is so wellprinted, and makes for\ngood all round.\nIts Notes on the Theatre should\nperhaps be written by some one able\nto find out something worth praising.\nMr Seldes writes his bit nicely, but\nseems too bored by Theatricals to\ntake pains to find some of the ge-\nnuine kind : and I'm sure if he look-\ned somewhere out of New York he'd\nfind them."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c067", "article_bluemountain": "bmtnaau_1925-07_01#c067", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "148", "image_debut": 56, "image_fin": 56, "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=bmtnaau192507-01.2.8.3", "titre_corps": "THE LITERARY DIGEST", "titre_sommaire": "THE LITERARY DIGEST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "debut_caractere": 4744, "fin_caractere_exclue": 5603, "texte": "THE LITERARY DIGEST. 354-\n360 Fifth Avenue. New York•\nTHIS journal is alway a delight.\nWhether it appeared earlier than\n44 Current Opinion \" and the 44 Re-\nview of Reviews \" I don't know.\nThe three are all alike in their abi-\nlity to entertain. They are the three\nVariety Shows of our English speak-\ning Literary and Political world.\nThe 44 Literary Digest \" and 44 Re-\nview of Reviews \" 1 like best, for I\nsee them regularly and that speaks for\nitself. I can't quite take to a journal\nI don't see. Why hide journals\nbehind the hills ? It's the fault I find\nwith 44 The Mask \", a journal which\nmight well be rechristened 44 The\nViolet \".\nBut 44 The Literary Digest \" is most\namazingly well edited, ....done as well\nas the London Coliseum is managed.\nMr. King and Sir Oswald Stoll have the\nsame genius for doing a thing just as\nwell as it is possible to do it."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c068", "article_bluemountain": "bmtnaau_1925-07_01#c068", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "148", "image_debut": 56, "image_fin": 56, "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=bmtnaau192507-01.2.8.4", "titre_corps": "THE BERMONDSEY BOOK", "titre_sommaire": "THE BERMONDSEY BOOK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "debut_caractere": 5605, "fin_caractere_exclue": 6236, "texte": "THE BERMONDSEY BOOK.\n2s. Monthly. Heinemann. London<\nTHE BERMONDSEY BOOK IS\nnow in its second volume, and,\nbeginning with its June number (Vol. 11,\nNo. 3), is being published by Messrs.\nHeinemann.\nThis last number contains a cartoon,\n44 The Boy \", by Max Beerbohm, an\narticle by Yoi Maraini on Emilio\nCecchi, that Italian writer who has so\noften served, both by his essays and\ntranslations, as a 44 link between English\nliterature and the Italian public \": a\ncontribution by 44 Bonaventura \" on the\nthird Biennial Exhibition in Roma,\nmaking special reference to the wood\nengravings of Mr. Gordon Craig; and\nother interesting items."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c070", "article_bluemountain": "bmtnaau_1925-07_01#c070", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "150", "image_debut": 57, "image_fin": 58, "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=bmtnaau192507-01.2.9", "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": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 6066, "texte": "EDITORIAL NOTES.\n\nDRAMA NOT THEATRE.\nWHEN we read of Universities and\nColleges including the study of\nthe Drama in their curriculum we\nfancy we can understand the drift of\nthe idea. But when we read of these\nsame seats of learning undertaking the\npractice of the Theatre, we are puzzled.\nFor we see no use whatever in any\nbut craftsmen becoming skilled in the\nTheatric game.\nOnce upon a time many of the\ngreat colleges of Italy, of Spain and\nFrance, did have theatres built for\ntheir students. And on these stages\nthe young gentlemen rounded off some\nof their sharp corners; their manners\nbecame more elegant. This was a\nvery good use to put the stage to—\nbut none of these young gentlemen\never took up the work of the Theatre\nafterwards. That again was right as\nrain. Young gentlemen should be pre-\nserved for different tasks.\nThe Theatres in the Collegio dei No-\nbili seem to have been three to four ;\nwhen one was found out of date a\nnew one was put in. The Jesuits* pu-\npil teachers I think enjoyed playing at\ntheatres—and the heads of the Col-\nlege found it really was of use to the\nfinal turned-out article.... the young\ngentleman..., which the College turned\nout finally.\nTo walk easily, to know how to\ncarry the head and the hands, how\nnot to fidget or shuffle, how to be\neasy and always ready with a touch of\nBravura, this was what was taught and\nlearned on those college stages. In\nthose days Princes and young lords\nhad to really look like what they\nwere, besides being what they were.\nAnd speech, exact and fine, was much\nliked in noble lords, so speaking had\nto be learnt, ... and how acquire that\nbetter than by acting the part of Be-\nlesarius king of Ethiopia or Calerathmus\nPrince of Barrabara.\nThe Academies always did what\ncommon sense could do to preserve\nthe fine Italian speech.\nBut beyond deportment and the\ngrace of speech there is surely hothing\nelse that can be taught to gentlemen in\na college theatre?\nNowadays even these two things do\not seem to be taught.\nIf anything, slouching and slurred\nf peech is looked on as properer. Gor-\nki's n Nachazil n or Tolstoi's n Do-\nmain of Darkness n or some other\npiece calling for an imitation of low\nlife, that's the order of the day in\ncolleges.—That, and a thorough trai-\nning as a scene painter, stage manager,\ncarpenter, property maker, costumier and\nso forth.\nWe see no use whatever in teach-\ning these things to young gentlemen\nin colleges.... and presumably none\nbut young gentlemen of the upper\ncircles are sent to college.\nFor if young Grande or young Non-\nsuch wish to capitulate and go in for\nthe crafts which we artists favour, they\nmust sink to the third class. Knowledge\nin these crafts they can acquire in spe-\ncializing studios. Even wig-making can\nbe learned in a wig-maker's shop. So\nwe wonder what queer kink of the brain\nhas brought these College and Univer-\nsity Dramatic Theatric branches into\nexistence,\n\nTHEATRE BOOKS.\nIN establishing a Library of books\ndealing with the Drama, the British\nDrama League follows in the footsteps\nof France, Germany, Italy, Japan and\nAmerica.\nThere have been superb collections\nmade of Theatrical books by many a\nprivate owner. Amongst them Farrenc,\nFillippi, Schatz, Rasi, Kanzler.\nIn our British Museum and Victoria\nand Albert Museum are Libraries in\nwhich are to be found valuable books\non the Theatre, but you have to look\nfor them, know what you want,—and\nthen, by jove, read them. That's a\npoint,\nWe shall be curious to see the\nprinted catalogue of the books of the\nBritish Drama League Library which\nhas room for 8000 books.\nWe may expect from now onwards\nfor London dramatic critics to write\nwith rather more information concerning\nmany a thing than was formerly con-\nsidered necessary, for now they need\nonly consult these books.\nBut a subject catalogue will bave to\nbe prepared before anyone can be\nexpected to find what he is looking\nfor .... granted that he himself first\nknows.\n\nTHE POOR PLAYWRIGHT.\nIN these days when one reads tragic\narticles entitled 44 the Dramatist in\ndanger \" or 44 The Playwright mena-\nced \", articles in which the writers\ntremble for the future of these good\nallies of the stage, it is comforting to\nhear of even a modest success achieved\nby any one of them.\nMr Cosmo Hamilton is returning\nfrom America having won to just such\na success and made £ 50,000 (fifty\nthousand pounds) in a single season\nthere, five or six plays of his running\nsimultaneously in New York City.\nWe have not heard of any actor\nor producer who ever took quite so\nmuch out of the playhouse in one\nseason. The awful fate in store for\nPlaywrights seems to be to die of suc-\ncess and rather too much money.\nMr G. B. Shaw cannot surely be a\npoor man: Sir J. M. Barrie we can-\nnot consider as at ail hard up: and\nhere is Mr Hamilton coming in a\ngood third, with £ 50,000 in one year.\nAnd to think that this is all the\nproducer's fault: the producer who has\ndone so much to queer the playwrights'\npitch and to enrich himself while doing\nit ....what ?\n\nINCORRECT.\nTHE DAILY MAIL, our favou-\nrite daily journal because of its\nunderstanding of Signor Mussolini's\npersonality, and our delight on account\nof the way its pages are set up, is\ncuriously open to making glaring errors\nabout Theatrical matters. Not long\nago it wrote of Madame Eleonora Duse\nas \" the great operatic singer **, and\nmore recently (in April) it wrote of\n44 Sumurun ** which was put on the\nParis stage as 44 under the direction of\nthe late Max Reinhardt \" ; and later\nin the same column it refers to him\nas \" the wizard of scenic and colour\neffects who but recently passed away \".\nBut such things are not delibe-\nrate.... only accidentally incorrect, and\nwe wish the 44 Mail \" more and more\nsuccesses by the million, for it was almost\nalone in taking the right view of Signor\nMussolini straight away and has kept\nto that view.\nIf the Duce were one of the poli-\nticians we should not venture to say\nanything. But this is no politician,\nand he has no \" politics \" : he is a\ngreat man of common sense, and the\nonly one in Europe who has what\nwe call vision and is in power."}, {"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 5841, "texte": "BRITISH OPERA.\nDOES the British National Opera\nCompany produce British Operas\nand none but British Operas ? If not,\nwhat on earth is it doing masquerading\nunder such a title?\nThere are numbers of British\nOperas available ; not only 44 The\nBeggar's Opera \". There are all Purcell's\nOperas; and has not Delius written\noperas?... Sullivan, Mackenzie, Hamish\nMacCunn too, and Balfe?\nWe think it a pity for Englishmen\nto serve under a flag bearing the\nsplendid words 44 British National Ope-\nra \" when the operas being sung by\nthem are by mostly German, Russian,\nFrench and Italian Composers. It's\nflying false colours isn't it? for translations\nof the words into English do not make\nthe music English.\nAnd we hear that Mr Frederick\nAustin joined the concern not long ago.\nA leaflet issued presumably by\nthe Company and purposing to be a\nmagazine, and called 44 Opera and the\nBallet \", seems to be proud of this\nBritish National Opera Company. We\nmust say we are not as proud of it as\nwe would like to be.\nTo sing foreign Operas, and in\nEnglish, is no particular annoyance to\nanyone, and they are often a pleasure\nto hear. But for any Company to\nlabel itself the 4 British National Opera\nCompany* in order to do that seems\nto us a little unnecessary.\n\no AN OMISSION. o\nMANY people have written to us\nasking why the Foreign Note\nfrom Monza in the last (April) num-\nber of \" The Mask \" had as one of\nits head lines \" Birds and Animals \"\nwhen there was not a word about an\nanimal or a bird in the whole column.\nThe fact is our Correspondent posted\nus two sheets, one of which was some-\nhow mislaid. It referred to the\nbirds and animals kept at the big\nSchool of Art which is today housed\nin the Royal Palace at Monza built\nby Piermarini in 1780, and has a\nspecial interest for English readers,\nIt may be remembered by some\nof those who took an in interest in\nthe establishment of the School for the\nArt of the Theatre by Mr. Gordon\nCraig in 1913, that one of the items\nincluded in his plan wa3 that of\n\" birds and animals, and food for\nsame *\\\nSome short-sighted critics asked\n\" why birds, why animals ? \"To\ncook and to eat them \" they assumed,\nand laughed heartily over their funny\njoke. As a matter of fact it was in-\ntended to study from them : to note\ntheir colours, forms, and their move-\nments ; to draw them, and to derive\nfrom them something which only these\ncreatures have to offer the artist.\n44 The School of Art at Monza \"\nwrites our Correspondent, 44 has a\n44 section of the grounds put aside for\n44 many fine birds and several animals.\n44 I noted some eight or ten well kept\n44 runs for finely marked birds of bril-\n-44 liant colouring. What the species\n44 was I was told but forgot to note ;\n44 if I remember aright there were rare\n44 pleasants, guinea fowls, peacochs,\n44 storks and flamingoes amongst them.\n44 There were also enclosures contai-\n-44 ning gazelles, deer, and other fleet\n44 footed animals\nOur Correspondent was informed\nthat these delicate creatures served as\nmodels for the students.\nWhen Mr Craig's notion was an-\nnounced in London one of the papers\ncontained a headline 44 Comic methods\nfor New Art School \", and a writer\nproceded to inform London that it\nwas a laughable idea to provide birds\nand animals for students to study\nfrom ; besides, it was calculated to be\n44 very costly \". Perhaps the same\ncritic and his following would hold it\nextravagant, 44 very costly \" to provide\na School with a Library.\n\nA DRAMA LIBRARY.\nTHE British Drama League is to\nbe congratulated on the addition\nof a Library to contain 8,000 books\nto its premises at 8 Adelphi Terrace.\nMr Geoffrey Whit worth the Secre-\ntary goes on well with his work doing\njust what is needed.\nThere are some people who will\nof course raise their hands and cry\nout against such a wicked extrava-\ngance. They will say it is a waste of\nthe funds of the League.\nThe only extravagance we can see\nhas been the waste of time in coming\nto a decision to establish such a library.\n\nUNWANTED.\nMR Robert Atkins, referred to in\nLondon journals as a genius of\na producer, is leaving the Old Vic.\nIs it his genius which is in the way,\nor does he wish to better himself ? We\nask for we have never seen his work\nand have no notion what is the stan-\ndard of 1925 genius in London. Bu\nit strikes us as not a little strange 6\nthe Direction to allow even a toucl\nof genius to leave a theatre which\nfrom all we hear, is not overburdenec\nwith an excessive amount.\n\nLUCIEN GUITRY.\nJ. S.\nIN the death of Lucien Guitry ever]\ntheatre-goer who saw him act musl\nmourn the loss of a valuable membei\nof the French stage.\nHe was not a great actor there\nhave been few such in the past fift)\nyears: Salvini and Irving stand well\nabove their contemporaries and proves\nthat while Democracy may do much\nto level many things which need le-\nvelling, it cannot dwarf genius or raise\ntalent till they are as like as two Demo-\ncratic pins and worth a like sum.\nGuitry was a powerful actor and\npower is a quality the European stage\ncan ill afford to lose at this moment,\nBut other powerful actors will come\nto fill his place. After they have ap-\npeared a great actor will appear. It\nis an old trick of that goddess whom\nno one denies Nature. She plays\nthat trick to put the sententious in!\nplace, to curb those who do not be-\nlieve that genius is really what it is,\nnot having a capacity to recognize it.\nToo many of 44 Our Paris Corre-\nspondents \" have snatched as a theme\nthe death of this admirable actor to\ndeliver one more kick on the shins of\nGenius, Nature, the Gods, and trample\non the toes of everything and every-\nbody except their old chums who are\nin the business, and the result has been\nan unusual burst of error: 44 The Last\nof the Titans 44 Our Paris Corres-\npondent \" of one newspaper calls\nGuitry; another 44 the greatest living\nactor \". What a noise around a\npoor old grave."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c072", "article_bluemountain": "bmtnaau_1925-07_01#c072", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.9.2", "titre_corps": "DRAMA NOT THEATRE", "titre_sommaire": "DRAMA NOT THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "debut_caractere": 18, "fin_caractere_exclue": 2893, "texte": "DRAMA NOT THEATRE.\nWHEN we read of Universities and\nColleges including the study of\nthe Drama in their curriculum we\nfancy we can understand the drift of\nthe idea. But when we read of these\nsame seats of learning undertaking the\npractice of the Theatre, we are puzzled.\nFor we see no use whatever in any\nbut craftsmen becoming skilled in the\nTheatric game.\nOnce upon a time many of the\ngreat colleges of Italy, of Spain and\nFrance, did have theatres built for\ntheir students. And on these stages\nthe young gentlemen rounded off some\nof their sharp corners; their manners\nbecame more elegant. This was a\nvery good use to put the stage to—\nbut none of these young gentlemen\never took up the work of the Theatre\nafterwards. That again was right as\nrain. Young gentlemen should be pre-\nserved for different tasks.\nThe Theatres in the Collegio dei No-\nbili seem to have been three to four ;\nwhen one was found out of date a\nnew one was put in. The Jesuits* pu-\npil teachers I think enjoyed playing at\ntheatres—and the heads of the Col-\nlege found it really was of use to the\nfinal turned-out article.... the young\ngentleman..., which the College turned\nout finally.\nTo walk easily, to know how to\ncarry the head and the hands, how\nnot to fidget or shuffle, how to be\neasy and always ready with a touch of\nBravura, this was what was taught and\nlearned on those college stages. In\nthose days Princes and young lords\nhad to really look like what they\nwere, besides being what they were.\nAnd speech, exact and fine, was much\nliked in noble lords, so speaking had\nto be learnt, ... and how acquire that\nbetter than by acting the part of Be-\nlesarius king of Ethiopia or Calerathmus\nPrince of Barrabara.\nThe Academies always did what\ncommon sense could do to preserve\nthe fine Italian speech.\nBut beyond deportment and the\ngrace of speech there is surely hothing\nelse that can be taught to gentlemen in\na college theatre?\nNowadays even these two things do\not seem to be taught.\nIf anything, slouching and slurred\nf peech is looked on as properer. Gor-\nki's n Nachazil n or Tolstoi's n Do-\nmain of Darkness n or some other\npiece calling for an imitation of low\nlife, that's the order of the day in\ncolleges.—That, and a thorough trai-\nning as a scene painter, stage manager,\ncarpenter, property maker, costumier and\nso forth.\nWe see no use whatever in teach-\ning these things to young gentlemen\nin colleges.... and presumably none\nbut young gentlemen of the upper\ncircles are sent to college.\nFor if young Grande or young Non-\nsuch wish to capitulate and go in for\nthe crafts which we artists favour, they\nmust sink to the third class. Knowledge\nin these crafts they can acquire in spe-\ncializing studios. Even wig-making can\nbe learned in a wig-maker's shop. So\nwe wonder what queer kink of the brain\nhas brought these College and Univer-\nsity Dramatic Theatric branches into\nexistence,"}]}, {"article_id": "bm-bmtnaau-1925-07-01-c073", "article_bluemountain": "bmtnaau_1925-07_01#c073", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.9.3", "titre_corps": "THEATRE BOOKS", "titre_sommaire": "THEATRE BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "debut_caractere": 2895, "fin_caractere_exclue": 3912, "texte": "THEATRE BOOKS.\nIN establishing a Library of books\ndealing with the Drama, the British\nDrama League follows in the footsteps\nof France, Germany, Italy, Japan and\nAmerica.\nThere have been superb collections\nmade of Theatrical books by many a\nprivate owner. Amongst them Farrenc,\nFillippi, Schatz, Rasi, Kanzler.\nIn our British Museum and Victoria\nand Albert Museum are Libraries in\nwhich are to be found valuable books\non the Theatre, but you have to look\nfor them, know what you want,—and\nthen, by jove, read them. That's a\npoint,\nWe shall be curious to see the\nprinted catalogue of the books of the\nBritish Drama League Library which\nhas room for 8000 books.\nWe may expect from now onwards\nfor London dramatic critics to write\nwith rather more information concerning\nmany a thing than was formerly con-\nsidered necessary, for now they need\nonly consult these books.\nBut a subject catalogue will bave to\nbe prepared before anyone can be\nexpected to find what he is looking\nfor .... granted that he himself first\nknows."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c074", "article_bluemountain": "bmtnaau_1925-07_01#c074", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.9.4", "titre_corps": "THE POOR PLAYWRIGHT", "titre_sommaire": "THE POOR PLAYWRIGHT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "debut_caractere": 3914, "fin_caractere_exclue": 4977, "texte": "THE POOR PLAYWRIGHT.\nIN these days when one reads tragic\narticles entitled 44 the Dramatist in\ndanger \" or 44 The Playwright mena-\nced \", articles in which the writers\ntremble for the future of these good\nallies of the stage, it is comforting to\nhear of even a modest success achieved\nby any one of them.\nMr Cosmo Hamilton is returning\nfrom America having won to just such\na success and made £ 50,000 (fifty\nthousand pounds) in a single season\nthere, five or six plays of his running\nsimultaneously in New York City.\nWe have not heard of any actor\nor producer who ever took quite so\nmuch out of the playhouse in one\nseason. The awful fate in store for\nPlaywrights seems to be to die of suc-\ncess and rather too much money.\nMr G. B. Shaw cannot surely be a\npoor man: Sir J. M. Barrie we can-\nnot consider as at ail hard up: and\nhere is Mr Hamilton coming in a\ngood third, with £ 50,000 in one year.\nAnd to think that this is all the\nproducer's fault: the producer who has\ndone so much to queer the playwrights'\npitch and to enrich himself while doing\nit ....what ?"}]}, {"article_id": "bm-bmtnaau-1925-07-01-c075", "article_bluemountain": "bmtnaau_1925-07_01#c075", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.2.9.5", "titre_corps": "INCORRECT", "titre_sommaire": "INCORRECT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "debut_caractere": 4979, "fin_caractere_exclue": 6066, "texte": "INCORRECT.\nTHE DAILY MAIL, our favou-\nrite daily journal because of its\nunderstanding of Signor Mussolini's\npersonality, and our delight on account\nof the way its pages are set up, is\ncuriously open to making glaring errors\nabout Theatrical matters. Not long\nago it wrote of Madame Eleonora Duse\nas \" the great operatic singer **, and\nmore recently (in April) it wrote of\n44 Sumurun ** which was put on the\nParis stage as 44 under the direction of\nthe late Max Reinhardt \" ; and later\nin the same column it refers to him\nas \" the wizard of scenic and colour\neffects who but recently passed away \".\nBut such things are not delibe-\nrate.... only accidentally incorrect, and\nwe wish the 44 Mail \" more and more\nsuccesses by the million, for it was almost\nalone in taking the right view of Signor\nMussolini straight away and has kept\nto that view.\nIf the Duce were one of the poli-\nticians we should not venture to say\nanything. But this is no politician,\nand he has no \" politics \" : he is a\ngreat man of common sense, and the\nonly one in Europe who has what\nwe call vision and is in power."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c076", "article_bluemountain": "bmtnaau_1925-07_01#c076", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 58, "image_fin": 58, "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=bmtnaau192507-01.2.9.6", "titre_corps": "BRITISH OPERA", "titre_sommaire": "BRITISH OPERA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1245, "texte": "BRITISH OPERA.\nDOES the British National Opera\nCompany produce British Operas\nand none but British Operas ? If not,\nwhat on earth is it doing masquerading\nunder such a title?\nThere are numbers of British\nOperas available ; not only 44 The\nBeggar's Opera \". There are all Purcell's\nOperas; and has not Delius written\noperas?... Sullivan, Mackenzie, Hamish\nMacCunn too, and Balfe?\nWe think it a pity for Englishmen\nto serve under a flag bearing the\nsplendid words 44 British National Ope-\nra \" when the operas being sung by\nthem are by mostly German, Russian,\nFrench and Italian Composers. It's\nflying false colours isn't it? for translations\nof the words into English do not make\nthe music English.\nAnd we hear that Mr Frederick\nAustin joined the concern not long ago.\nA leaflet issued presumably by\nthe Company and purposing to be a\nmagazine, and called 44 Opera and the\nBallet \", seems to be proud of this\nBritish National Opera Company. We\nmust say we are not as proud of it as\nwe would like to be.\nTo sing foreign Operas, and in\nEnglish, is no particular annoyance to\nanyone, and they are often a pleasure\nto hear. But for any Company to\nlabel itself the 4 British National Opera\nCompany* in order to do that seems\nto us a little unnecessary."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c077", "article_bluemountain": "bmtnaau_1925-07_01#c077", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 58, "image_fin": 58, "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=bmtnaau192507-01.2.9.7", "titre_corps": "AN OMISSION", "titre_sommaire": "AN OMISSION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 1247, "fin_caractere_exclue": 3434, "texte": "o AN OMISSION. o\nMANY people have written to us\nasking why the Foreign Note\nfrom Monza in the last (April) num-\nber of \" The Mask \" had as one of\nits head lines \" Birds and Animals \"\nwhen there was not a word about an\nanimal or a bird in the whole column.\nThe fact is our Correspondent posted\nus two sheets, one of which was some-\nhow mislaid. It referred to the\nbirds and animals kept at the big\nSchool of Art which is today housed\nin the Royal Palace at Monza built\nby Piermarini in 1780, and has a\nspecial interest for English readers,\nIt may be remembered by some\nof those who took an in interest in\nthe establishment of the School for the\nArt of the Theatre by Mr. Gordon\nCraig in 1913, that one of the items\nincluded in his plan wa3 that of\n\" birds and animals, and food for\nsame *\\\nSome short-sighted critics asked\n\" why birds, why animals ? \"To\ncook and to eat them \" they assumed,\nand laughed heartily over their funny\njoke. As a matter of fact it was in-\ntended to study from them : to note\ntheir colours, forms, and their move-\nments ; to draw them, and to derive\nfrom them something which only these\ncreatures have to offer the artist.\n44 The School of Art at Monza \"\nwrites our Correspondent, 44 has a\n44 section of the grounds put aside for\n44 many fine birds and several animals.\n44 I noted some eight or ten well kept\n44 runs for finely marked birds of bril-\n-44 liant colouring. What the species\n44 was I was told but forgot to note ;\n44 if I remember aright there were rare\n44 pleasants, guinea fowls, peacochs,\n44 storks and flamingoes amongst them.\n44 There were also enclosures contai-\n-44 ning gazelles, deer, and other fleet\n44 footed animals\nOur Correspondent was informed\nthat these delicate creatures served as\nmodels for the students.\nWhen Mr Craig's notion was an-\nnounced in London one of the papers\ncontained a headline 44 Comic methods\nfor New Art School \", and a writer\nproceded to inform London that it\nwas a laughable idea to provide birds\nand animals for students to study\nfrom ; besides, it was calculated to be\n44 very costly \". Perhaps the same\ncritic and his following would hold it\nextravagant, 44 very costly \" to provide\na School with a Library."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c078", "article_bluemountain": "bmtnaau_1925-07_01#c078", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 58, "image_fin": 58, "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=bmtnaau192507-01.2.9.8", "titre_corps": "A DRAMA LIBRARY", "titre_sommaire": "A DRAMA LIBRARY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 3436, "fin_caractere_exclue": 3961, "texte": "A DRAMA LIBRARY.\nTHE British Drama League is to\nbe congratulated on the addition\nof a Library to contain 8,000 books\nto its premises at 8 Adelphi Terrace.\nMr Geoffrey Whit worth the Secre-\ntary goes on well with his work doing\njust what is needed.\nThere are some people who will\nof course raise their hands and cry\nout against such a wicked extrava-\ngance. They will say it is a waste of\nthe funds of the League.\nThe only extravagance we can see\nhas been the waste of time in coming\nto a decision to establish such a library."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c079", "article_bluemountain": "bmtnaau_1925-07_01#c079", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 58, "image_fin": 58, "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=bmtnaau192507-01.2.9.9", "titre_corps": "UNWANTED", "titre_sommaire": "UNWANTED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 3963, "fin_caractere_exclue": 4431, "texte": "UNWANTED.\nMR Robert Atkins, referred to in\nLondon journals as a genius of\na producer, is leaving the Old Vic.\nIs it his genius which is in the way,\nor does he wish to better himself ? We\nask for we have never seen his work\nand have no notion what is the stan-\ndard of 1925 genius in London. Bu\nit strikes us as not a little strange 6\nthe Direction to allow even a toucl\nof genius to leave a theatre which\nfrom all we hear, is not overburdenec\nwith an excessive amount."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c080", "article_bluemountain": "bmtnaau_1925-07_01#c080", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 58, "image_fin": 58, "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=bmtnaau192507-01.2.9.10", "titre_corps": "LUCIEN GUITRY", "titre_sommaire": "LUCIEN GUITRY", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "debut_caractere": 4433, "fin_caractere_exclue": 5841, "texte": "LUCIEN GUITRY.\nJ. S.\nIN the death of Lucien Guitry ever]\ntheatre-goer who saw him act musl\nmourn the loss of a valuable membei\nof the French stage.\nHe was not a great actor there\nhave been few such in the past fift)\nyears: Salvini and Irving stand well\nabove their contemporaries and proves\nthat while Democracy may do much\nto level many things which need le-\nvelling, it cannot dwarf genius or raise\ntalent till they are as like as two Demo-\ncratic pins and worth a like sum.\nGuitry was a powerful actor and\npower is a quality the European stage\ncan ill afford to lose at this moment,\nBut other powerful actors will come\nto fill his place. After they have ap-\npeared a great actor will appear. It\nis an old trick of that goddess whom\nno one denies Nature. She plays\nthat trick to put the sententious in!\nplace, to curb those who do not be-\nlieve that genius is really what it is,\nnot having a capacity to recognize it.\nToo many of 44 Our Paris Corre-\nspondents \" have snatched as a theme\nthe death of this admirable actor to\ndeliver one more kick on the shins of\nGenius, Nature, the Gods, and trample\non the toes of everything and every-\nbody except their old chums who are\nin the business, and the result has been\nan unusual burst of error: 44 The Last\nof the Titans 44 Our Paris Corres-\npondent \" of one newspaper calls\nGuitry; another 44 the greatest living\nactor \". What a noise around a\npoor old grave."}]}, {"article_id": "bm-bmtnaau-1925-07-01-c082", "article_bluemountain": "bmtnaau_1925-07_01#c082", "volume": "bmtnaau_1925-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192507-01.2.10", "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=bmtnaau192507-01.1.1", "debut_caractere": 0, "fin_caractere_exclue": 718, "texte": "GIORGIO & PIERO ALINARI\nPUBLISHERS. VIA STROZZI i, FLORENCE.\nGRAND COLLECTION OF PHOTOGRAPHS\n50.000 SUBJECTS OF ALL THE TOWNS OF ITALY. GREECE, PARIS, DRESDEN.\nPLATINUM, BROMIDE, CARBON PRINTS, ETC. ARTISTIC REPRODUCTIONS\nOF VIEWS, PICTURES, SCULPTURES, ARCHITECTURAL DETAILS, ETC.\nt:J If Mk%\nill j\n* * * I Sfflßr / '\nMmm 'N.NAJFM A & A\nI IHHHr -A\nmm: ft ,7 <** ;\nr #* ILL Al4; i/JP >II\nV^II\nV^ Rue Basse-des-Ursines Xo. 7. lie\nSaint-Louis, (not marked in Turgot).\nHare says 7 Hue du Cloitre.\n1756. In the Rue de la Vieille Boucherie\nMile Raucourt is born.'\n\nContinued on page 142,"}, {"page_pdf": 31, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.31", "texte": "XXII\nPlate 22. To be set below Plate 14, above Plate 30.\n\n1635. Theatre da Faubourg Saint-Ger-\nmain.\n1644. The Th6dtre de Moliere or lMllustro\nTheatre was first situated in the\nFaubourg St. Germain. It went later\nto Port St. Paul (Plate 12): then to\nRue do Percy (Bussi?) Iu 1680 it\nwas in the Rue Mazarine ; iu 1689 it\nshifts to the Rue des Fosses St. Ger-\nmain , now Rue de TAncienne ComGdie.\nRemains of the stage exist today.\n\nContinued on page 142,"}, {"page_pdf": 32, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.32", "texte": "XXIII\nPlate 23. To be set below Plate 15, above Plate 31.\n\nIn the Rue du Vieux Colombier M. Jac-\nques Copeau constructs his Theatre\n44 du Yieux Colombier \" in the 20 th\ncentury. Students of the modern\nTheatre will easily locate the site\nhere."}, {"page_pdf": 33, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.33", "texte": "XXIV\nPlate 24. To be set below Plate 16, above Plate 32.\n\n1781. Anne-Robert Turgot, the son of the\ndirector of this Plan, was buried at\nthe Hopital des Incurables.\n1672. Jeu de Paume du Bel-Air was in\nthe Rue (See also plate 23),\nThe Burial ground of Mile. Clairon was\noutside barrier Rue Vaugiraud.\nHouse for Combat des Animaux or the\nBear Pit of Paris."}, {"page_pdf": 34, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.34", "texte": "XXV\nPlate 25 To be set below Plate 17, above Plate 33.\n\n3792. In Rue de PHopital St. Louis the\nbody of Paul Jones, the pirate, was\nburied in the Protestant Cemetary on\nJuly 20th.\nBetween Faubourg St Denis and Fau-\nbourg St Laurent is today the busiest\ncommercial centre of Paris.\nLe Foire St Laurent, one of the two great\ncentres of interest for students of the\nFrench and the Italian Theatre, was\nheld here, the other being the Foire\nSt Germain (see PI. 22)."}, {"page_pdf": 35, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.35", "texte": "XXVI\nPlate 26. To be set below Plate 18, above Plate 34.\n\n1632. Hopital de St Lazare given to St.\nVincent de Paul who made it the\ncentre of his missions and received\nlepers there.\n1775-6 Mile. Raucourt is living with Mme.\nSourques on the first floor of a house\nin rue Faubourg St. Denis. The house\nwas close to the Grille St. Denis.\n1781. The Theatre de la Porte St Martin\nor L'Op6ra is built by Lenoir-du Ro-\nmain where the word Martin shows in\nthe extreme right corner of this plate."}, {"page_pdf": 36, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.36", "texte": "XXVII\nPlate 27. To be set below Plate 19, above Plate 35.\n\n1688 Tiberio Fiorilli and his second wife\nlived in Cul de Sac des Deux-Portes\nlooking on to the church of Saint\nSauveur. He died in 1688, in another\nhouse in Rue Tiquetonne.\n1739. On October 15 Francesco Roma-\ngnesi died in the old Rue de Bour-\nbon when the plan was just freshly\nengraved and printed.\n1751. Les Demoiselles are living\ntogether in Rue Montmartre a opposite\nHotel d'Uzcte (or d'Usez), It is here that\nthe eldest, Marie makes a conquest\nof the Sieur de Turenne. The youngest\ngoes to a house in Rue Pelican."}, {"page_pdf": 37, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.37", "texte": "XXVIII\nPlate 28. To be set below Plate 20, above Plate 36.\n\n1540. Hotel de Flandre to 1543, Rue\nCoq-H6ron ; (here spelt Ooqueron).\n1693. Regnard the dramatist has a bouse\nwith a garden in Rue Richelieu.\n1739. Prince de Carignan (1690-1741) while\nliving at Hotel de Soissons, is \" di-\nrecteur-general \" of the Opera. Had\nin his serraglio all les fllles of the\nOpera and a favourite called La\nMariette.\n1739. La Barberina, the very famous\ndancer, was living in Rue Vi-\nvienne ; her protector is Prince de\nCarignan.\n\nContinued on page 142,"}, {"page_pdf": 38, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.38", "texte": "XXXIX\nPlate 29. To be set below Plate 21, above Plate 37.\n\n1601. 4th Theatre Italien, Petit Bourbon\nconstructed about 1577.\n1614 to 1625. sth Th6&tre Jtalien. Palais\nRoyal. Italian Comici Fideli used it.\n1662, Theatre des Tuileries (1G62-1671),\nBuilt by the Italians Vigarani and\nArmandini of Modena.\n1670. G. B. Lulli builds his house at the\ncorner of Rue des Petits Champs and\nRue Ste. Anne. It can be seen here.\n1673. Moliere dies in the house facing\nthe angle of Rue de Richelieu and\nRue Traverserie: ie, No. 34 Rue\nde Richelieu. (Traversine writes\nAubin).\n\nContinued on page 1421"}, {"page_pdf": 39, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.39", "texte": "XXX\nPlate 30. To be set below Plate 22, above Plate 38.\n\n1721. The young Comte d'Argental, that\ndevoted adorer of Adrienne Lecou-\nvreur, lived in one of the two hou-\nses at the corner of the Quai. Hotel\nde Mailly or Hotel de Belle lie.\n1739. In No. 46 Rue du Bac lived Sa-\nmuel Bernard the Rothschild of the\nday, and died there in 1739 just as\nthis plan was appearing.\n1778. Yoltaire dies in the house at the\ncorner of Rue de Beaune and the\nQuai.\n1740. Sophie Arnould is born in Rue\nLouis Le Grand, parish of St. Roch.\n\nContinued on page 142."}, {"page_pdf": 40, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.40", "texte": "XXXI\nPlate 31. To be set below Plate 23, above Plate 39.\n\nSeventeen fatuous Hotels are shown in\nthis plate : amongst those which pos-\nsessed private Theatres are Hotel de\nClermont and Hotel de Villeroi.\n1846 Rue de Bac. Mile. Dorval lives at\nISTo, 110 (once 100 bis). It was here\nWhistler lived at the end of the 19 th\ncentury. The position of the house\nis on the site of Les Convalescents."}, {"page_pdf": 41, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.41", "texte": "XXXII\nPlate 32. To be set below Plate 24, above Plate 40.\n\nHotel des Invalides planned by Henri IV.\n]t was begun in 1671 by Louis XIV\nas a home for old soldiers who, till\nthat time, says Hare, had to beg\ntheir bread on the streets In 1841\nthe body of that old soldier Napoleon\ncame to rest here in the chief\nplace."}, {"page_pdf": 42, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.42", "texte": "XXXIII\nPlate 33. To be set below Plate 25.\n\n1735. Two of the famous mills of Mont-\nmartre. All the Miillers go to this\nattractive spot nowadays dressed\nout in all their finery Only two fa-\nmilies seem to have had the 1925\nsense in 1735."}, {"page_pdf": 43, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.43", "texte": "XXXIV\nPlate 34. To be set below Plate 26.\n\nWhen Bretez took the trouble to draw\nthe Mansion which is at the top of\nthis plate near the word \" Sainte\nand Lucas laboured on engraving it\nso neatly, why M. Aubin should not\nhave taken like pains to put a name\nto it puzzles .those of us who like to\nsee others hard at it all the time."}, {"page_pdf": 44, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.44", "texte": "XXXV\nPlate 35. To be set below Plate 27.\n\nIn Paris there have been many streets\nnamed Rue Royale. When one reads\nof the Rue Royale of the 18 th century\none must bear in mind this position\nand no other. It is some distance from\nhere to the Madeleine (see Plate 37)."}, {"page_pdf": 45, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.45", "texte": "XXXVI\nPlate 36. To be set below Plate 28.\n\n1782-1790. Sophie Arnould is living, in\nRue Royale, at the angle where it\nmeets Rue la Croix Blanche.\nIt was here around the Rue Roy ale that\nFrench actors came to live in the\ntime of Napoleon : Mile. Raucourt in\nRue Roy ale Mile. Mars in Rue Tour\ndes Dames, (Plate 35) Mile Duche-\nnois and Talma in the same street."}, {"page_pdf": 46, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.46", "texte": "XXXVII\nPlate 37. To be set below Plate 29.\n\n1683. When Lully left his lionse in Kue\nSt Anne he built one in 1683 in Rue\nde la Magdeleine, Rue Ville d'Eve-\nsque, -wheie he died_(l6B7) being bu-\nried in the Eglise. des Petits-Peres\n(see PI. 28)_ „ . .\nIn 1754 Mile. Montansier lives on 3id\nfloor of a house in Rue St Honor 6\nan the corner nf Hue Neuve dn\nLuxembourg. In 1756 in line St\nThomas du Louvre.\" (see pi. 29),\n\nContinued on page 14.2."}, {"page_pdf": 47, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.47", "texte": "XXXVIII\nPlate 38. To be set below Plate 30.\n\nSeven swagger Hotels are shown in this\nPlate, one of them (Hotel Charost)\nour British Embassy. Pauline Bona-\nparte lived here once but where\nare the snows of twentyfour .••even\nof 1924 ?"}, {"page_pdf": 48, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.48", "texte": "XXXIX\nPlate 39. To be set below Plate 31.\n\nIf, a9 I am informed by a historian, the\nPalais Bourbon was built in 1789,\nhow is it that there it is in 1731, top\nleft hand corner of this plate? They\nsay there is a theatrical Exhibition\nbeing held 011 these banks just now/,\nnot to in any way do harm to thea-\ntricals, but just out of habit."}, {"page_pdf": 49, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.49", "texte": "XL\nPlate 40. To be set below Plate 37.\n\nThus ends this stupendous plan, tailing\noff without an effect into a corner in\nswans. But what it was frightened\naway all the swans in the 18th oen-\ntury I have not as yet been able to\ndiscover.\n\nE. G. C."}, {"page_pdf": 50, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.50", "texte": "NOTES CONTINUED FROM THE\nTEXT BENEATH THE PLATES.\nPlate 19.\nthe Demoiselles Verri&res, Marie Ge-\nnevi&vre Rinteau was born: the\nyounger, Genevievre Claude in 1734.\nLa Rue Michel-le-Comte.\n1700 at No. 1. lived Jean Serouge the\narchitect.\n1480 1492 at No. 8. Jeu de Pnume de la\nFontaine in 1492 at the sign of La\nRose Blanche. Often a Jeu de Paume\nwhen the game had grown out of\nfashion served as an excellent place\nin which to construct a Theatre.\nThis one of 1492 came in 1632-3 to\nbe used as a Theatre, le Th6&tre\nd'Avenet.\n1632. Established by Jacques Avenet. It\nwas closed in 1633 because of the\ncommotion it caused in the narrow\nstreet.\nTo the History of the French\nTheatre every Jeu de Paume which\ncan be spotted is of the utmost im-\nportance.\n1660. The Company of the Hotel de Bour-\ngogne has its abode here and played\nas ThO&tre du Marais till 1673 when\nit was demolished.\n1637 at No. 27. At the back of this\nhouse was a Jeu de Paume de Braque.\n(1637).\n1700 at No. 56. lived Jean Philippe the\narchitect.\nPlate 20.\n1758. Sophie Arnould's father set up an\nInn at Hotel de Lisieux Rue Bethisy\nnear Rue Foss6 St Germain P Aux«\nerrois.\nPlate 21.\n1770. Sophie Arnould is living in Rue du\nDauphin ; she takes a whole house.\nFort d'Eveque where Clairon and many\nan actor and actress were sent to\nreconsider their position.\n1848 (circa). Theatre Cluny, precisely\nwhere we see MATHTJRINS.\n1810. De Musset born Rue des Noyers.\nPlate 22.\n1650. Th&itre de la Croix-Blanche. Rue\nde Bussi.\n1671. Th64tre de l'Hotel GuSnegaud, Rue\nMazarine.\n1671. Acad6mie de Musique. or Opera.\nJeu de paume de Bouteille, Rue Ma-\nzarine.\n1680. Com6die Franchise, Rue Maza-\nrine. Shifts in 1689 to Rue des Fos-\nses Saint Germain des Pr&s, today\nRue Pancienne Com6die.\n1693. Jean Racine lives at Rue Marais\n21 (now Visconti) dying there in\n1699. Previous to that he lives at\nRue des Macons, Sorbonne.\n1720 (?)-1730. Adrienne Lecouvreur lived\nand died at 21 Rue Marais St. Germain.\n1714. Foire Saint Germain to 1718.\nFirst Opera Comique.\n1721. Pr6ville was born in Rue des\nMauvais-Garcjons (St. Suplice).\nSecond Opera Comique.\nFoire Saint Germain.\n1735. Mile. Lamotte (1704-1769) actress,\nliving Rue Mazarine (St. Suplice).\n1736. A new regulation is made to pre-\nvent the carriages blocking up the\nstreets round the Theatres Fran9ais\nand Italienne.\n1773. The large area covered by the\nHotel de Cond6 was bought by the\nState in 1773 011 Sept. 19th and on\nthis site in 1778 was built the Thea-\ntre de l'OdSon by Peyre and Wailly\nat a cost of 1,600,000 livres.\nPlate 28.\n1772. Sophie Arnould is liviDg in the\nPalais Royal not far from where we\nsee on our plan the words 44 Com-\npagnies des Indes \".\n1790. On the site of the Hotel de Lou-\nvois the Theatre Louvois came to be\nbuilt in 1790.\n1816. La Guimard died in Rue M6nars\non the right side when entering by\nthe Rue de Richelieu. The street\ncame to be built by the side of Hotel\nde Menars which is to be seen here,\n1734. P. F. Biancolelli died 18th April\nin Rue Montorgueil about the time\nthat Louis Bretez was drawing his\nhouse.\n1741. Fabio Sticotti a famous Pantalone\ndied in Rue Framboise in December.\n1750. The Caf6 Allemand kept by Madame\nBourette is in the Rue Croix-des-\nPetits-Champs. It was the meeting\nplace of men of letters in 1750.\n1757. Marivaux the dramatist goes to\nlive in the Rue Richelieu at the ap-\npartment of his friend the old maid\nMile de Saint-Jean : he died here in\n1763.\n1762. Carlo Goldoni lived in 1762 near\nthe ltalienne, in 1763 Rue\nMauconseil, and Rue de Richelieu. In\n1793 at No. 1. Rue Pav6e St Sauveur.\nPlate 29.\n1740. Sophie Arnould born in Rue Louis\nle Grand parish of St Roch. (See\nalso Plate 36).\n1740-1749 ? Voltaire lives in Rue des\nClos. Gorgeau.\nIn the 18th century the Rue des Petits\nChamps was the street of the wig-\nmakers.\n1751 (circa) the younger of Les Demoi-\nselles Verrieres goes to a house in\nRue Pelican.\n1756. Mile Montansier lives in Rue St.\nThomas du Louvre.\n1771. Sophie Arnould is living at Rue\nNeuve-des-Petits Champs near the\nPlace Vendome.\nPlate 30.\n1774. Mile. Clairon lives here Hotel de\nValbille ; precisely where the street\nbends and on the lower side.\nPlate S7-\n1755 (circa) the Demoiselles Verri&res\nlive at 24 Rue de la Ville-PEvesque\n(here called l'Eveque). In this house\nthey had a theatre, 'tres-jolie \" in\nWhich were 7 4loges en baldaquins',\nand 4loges grilles ' for those ladies\nwho wished to see unseen. A M.\nd'Epicay supplied the means for this\naffair, and it was all very sumptuous.\n1780-93. Mile. Contant is living at Maison\nDemonvilie in Rue d'Anjoy.\n1773. The Demoiselles Verrieres are liv-\ning in Rue Vert, today Rue Pen-\nthievre.\nPARISH OF SAINT SAUVEUR.\nThe Parish where the Actors of the 17th\n18th centuries like best to live\nwas that of Saint Sauveur.\n1688. Tiberio Fiorilli and his second wife\nlived in Cul de Sac des Deux-Portes\nlooking on to the church of Saint\nSauveur. dying later iu another house\nin Rue Tiquetoune.\n1690. Raymond Poisson the famous Cris-\npin lived in the Rue St. Denis and\ndied there May 10.\n1724. Stefano Balletti was born in Rue\nTirebondim May 14.\n1729. Francesco Visentini died in Rue\ndu Renard 20 April.\n1731. C. Y. Romagnesi died 9th of March\nin Rue Tirebondin.\n1753. The famous Riccoboni died in Rue\nFrangoise, December 6th. The fa-\nvourite streets of the Italian actors\nin this quarter between 1760 and 1771\nwere Rue du Petit-Lion, Rue Com-\ntesse d'Artois, Rue Pavee, Rue Beau-\nrepaire, the Rue Mauconseil and the\nRue St Sauveur.\n1771. A very celebrated actress, Elena\nVirginia Balletti, died in Rue Saint-\nSauveur in 1771. She was the widow\nof Luigi Riccoboni and, like nearly\nall the Italian actors who died in\nParis in the 18th century, she was\nburied in the vaults of the chapel of\nthe Virgin at Saint-Sauveur.\nShe was the great Flamiuia of 1716\nand spoke Latin, Greek, French,\nItalian, Spanish, was a member of\nseveral Academies, wrote comedies\nand was naturalized a Frenchwoman\nwith Riccoboni and their son in 1723.\nWhen in 1787 the church of Saint\nSauveur was destroyed and public\nbaths put in its place this little\ntheatrical centre disappeared.\nMADEMOISELLE RABON.\n1679-1739. Louis-Auguste-Achille-de Har-\nlay-C6ly Comte de C6ly. B. Feb. 4.\n1679. 1). 1739, was Born in Hotel\nde Harlay, Rue de Harlay (See Plates\n10 & 18) (today Rue des Arque-\nbusiers).\nHe took as mistress Mile. Du Ro< her, an\nactress of l'Opera, and goes to live\nin aHotelßuePortefoin,(seePlate 12).\nIn 1729 takes Ml e Rabon, danseuse a\nl'Opera, as his mistress, keeping her\nuntil 1737. She is 15 years old, he\nis 50. She had entered the Ballet Of\nthe Opera Comique at 12 years old.\nOne of the 44 plus jolies femmes de\nParis \" writes Meusnier her biogra-\npher. 4 Large and well made \" but\n4 4 extremement s&che \".\nShe is installed in Rue Cours-la\nReine (see PI tes 39 & 40).\nIn 1737 Mile Rabon passes from Harlay\nto Prince de Carignan. Rabon pro-\nmising 011 the 44 foi d'honnete fille \"\nto remain always faithful to her new\nmaster.\nThe Prince de Carignan after in-\nnumerable annoyances from Rabon,\nher mother, M. de Jouzac a new\nflame of Rabon's, and Leclerc her\nfirst flame, sends her back to her\nmother leaving his gifts with her.\n1738. Later he took a little house for her\n44 au f What else of\nShakespeare's should we lose ? Not\nthe plays with Imogen, with Portia,\nwith Beatrice and with Rosalind.\nAh ...so it is possible for a poet to\nsing like a God or to frisk like a\nPixie without having as model a pretty\nlady egoistically made for mischief.\nLet us see what we should lose.\nNot the Tempest, nor Midsummer\nNight's Dream, nor the Merry Wives\nof Windsor; (Really, as 1 set out to\npen these lines I was assailed by fears\nlest Shakespeare would impeach me,—\nwould bear false witness; would deny\nthe sun, the moon and the.stars. I\nwill go on).\nWe should not lose those seven\nmasterpieces which breathe out for us\nthe credo of humanity: or Twelfth\nNight, the Winter's Tale, Henry Vth,\nRomeo and Juliet, King Lear.... We\nshould have to lose some, for some of\nthese other plays assuredly sound like\ngroans and cries of frantic persons.\nStrange that this—something chaotic—\nshould be the most that these women\ncan inspire ; for they are often women\ngreatly blessed, gifted and beautiful,\nfull of loveliest qualities, ...and with it\nall a preposterous little ego—so little—\ngifted with a little vision yet 44 inspir-\ned \" ; a little brain, yet 44 very intel-\nligent \"; and so little sense of the\nridiculous that they fail to observe that\neven when a great poem is written\naround their little tragedy it ends by\nraising laughter.\nThis is where I arrive on reading\nthe life story of this famous Yang-Kuei-\nFei, first imperial concubine to the\nEmperor Ming Huang (circa 720 A.D.)\nNot at all a charming story—not a\nheroic one— not particularly entertaining;\nwhich contains nothing to surprise, to en-\nchant, or move us to pity or to bid us\ntremble. Yet Mr H. A. Giles in his brief\nForeword speaks of her 44 moving story \",\nof her 44 triumphs \" and her 44 tragedy\".\nHad she come even near to something\nfaintly promising triumph, had she been\na figure truly tragic, we could laugh\nand thrill with her exultation and\ngrieve at her death. That we do not,\nand that we forget her in a few hours,\nrenders the whole history set forth with\nsuch pomp and circumstance not a\nlittle ridiculous.\nFor more tragic figures and more\ntriumphant ones too are to be met with\nin the poor annals of the European\nstage. Of poor little forgotten actresses\nand dancers, singers and chorus girls,\nlovelier histories could be written than\nof this Imperial comedienne celebrated\nby her own countrymen as 44 the most\nartful\" beauty of China, 44 very fond\nof the wine cup\", with notions of\nmurder too, and, withal, an infernal\nnuisance.\nAnd out of this character the dra-\nmatists of China have made a figure\nwhich we are told every Chinese\nactress is ambitious to personate.\nMrs Wu Lein Ten has written us\nthe story with considerable skill and\nBrentanos have printed it well on fine\npaper, illustrated it sufficiently and\nbound it excellently; the price is not\nat all high; the type used is a large\none, and the book will serve its pur-\npose in showing that, if ambition ever\nsuits a woman, it should only be reserved\nfor those who are actresses and can put\nit off with their rouge and powder\nwhen they go home to their nice little\nsupper with the family in Chelsea or\nClichy.\n\nTHE CONSTANT NYMPH.\nMargaret Kennedy. Heinemann. 7j6.\n44 A LL London is talking of it \". All\nJLTJL London would. When shall we\nread on a - Publisher's list that all\nLondon is thinking of a book ? That\nwould be a good day indeed.\nAnd were but one whole street of\nLondon to think about this charming\nwork 1 do not believe that even Miss\nKennedy would mind—which may\nsuggest to you that she lives in that\nstreet; but she doesn't; she is the\nauthoress and she lives down in our\nAlley.\nAll London is talking of this book\nabout a Nymph because it's well done ;\nand secondly because it is actually done\nby some one in England.\nIt is vivid, real; the personsges in\nthe book really speak naturally, though\nnow and again one hears something of\na far-off voice from a strange and\ndear old house in Croisset.\nBut take the book out of London-\navoiding superficial Paris and New\nYork: wander with it up here or down\nthere, and, while no one in his senses\ncould deny the authoress a genuine\nsalute, everyone will wonder what it\nis that London finds to talk about, to\nobject to, or to champion.\nNot the way it is written, to begin\nwith: no one can object to that.\nCertainly not its theme.... Its success\npossibly ? yes, that is what might\nastound London—it must marvel at\nHeinemann and Co for publishing with\nsuccess so excellently told a tale. But\nthen did it marvel at Mr Heinemann\nbefore he became a Company for pub-\nlishing 44 Zuleika Dobson \", the best\ntale in the English Language after Ro-\nbinson Crusoe, and far better written.\nIs it because Miss Kennedy's con-\nservative family, as the 44 New York\nEvening Post\" puts it, feel outraged\nthat she should have written 44 such a\nbook\" ? Do you think it's that ? I\nalmost believe that is the reason why\nour great old London is talking about\nit. Still, after all what does it matter\nprovided Mr Gosse speaks well of it.\n\nOXFORD BOOKS ON THE\nFINE ARTS. Clarendon Press.\nOxford.\nAS handsome a Catalogue as it is\npossible to produce, with exqui-\nsite illustrations. The half tones are\nsuperb and strengthen our belief that\nit is still far and away the best pro-\ncess in the world by which to to repro-\nduce anything with exactness.\n\nMAGAZINES.\n\nTHE CALENDAR Of Modem\nLetters. 1 Featherstone Buildings,\nHigh Holborn, London. /16 monthly.\n44 HTHE Calendar \" quite convinces\nA me of one thing. This:—that\nunless a novelist be of an overwhelming\npersonality, a Dumas or a Dostoevsky,\nit is better to go immediately to school\nwith Flaubert, An ability to write\nout your own personal experiences,\nto blab of persons you have casually\nmet, half known and not troubled\nto know further, seems to me to be\ninsufficient to deserve the title of no-\nvelist."}, {"page_pdf": 56, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.56", "texte": "The first numher of 44 The Calen-\ndar \" is most interesting and lively,\nentertaining and carefully done ; and I\nhope it will go on. I see no\nreason why it should not, except that\nit lays down no programme. It states\nthis quite clearly. This may be all to\nthe good—to the good long life be-\nfore it; but a programme has its uses.\n44 The Calendar\" means, I suppose,\nthat it wants to grow, and as it grows\nwill leave on-lookers to guess what it\nis growing into, what for, and where\nit will toddle when two years old and\nwhere stray when six. But can any\njournal ever be considered as quite so\nyoung as that ? and 44 The Calendar \"\nis awful wise for its age.\nCan a journal with young men of\nthirty-eight and forty as its standbys,\nbe allowed to slip into the Arena\nwithout a ticket, without any statement\nof where it is going—and why it\ncomes in ?\nThis first number contains the first\npart of a novel by D. H. Lawrence\ncalled 44 The Princess \" ; three poems\nby Robert Graves; an essay on Poe's\nAnalysis of Inspiration by Douglas\nGarman : a scrutiny of Barrie by Rick-\nword ; nine pages about Dostoevsky\nand Pauline Souslow ; one of A. E.\nCoppard's short stories : a bit by Sieg-\nfried Sassoon: Comments and Reviews:\none review being by Bertrand Russell:\nanother by W. G. Turner: while\nHuxley, Wyndham Lewis and Desmond\nMacCarthy are to figure later in the\nprogramme, at present, not declared.\nI do not know if the Literary world\ncan be likened to the Theatrical world,\nbut it seems to me that it must cost a\nbit to bring out a Literary Magazine.\nIt costs a bit to run ten Theatres,\nSuppose one magazine and one theatre,\nof what we will call the advanced and\nmore independent kind, each costs\n£5OO per year; and there are, I sup-\npose, some six to twenty such literary\nmagazines in England, There must be\ntwelve anyhow. There are I suppose\na like number of Theatres comparable\nwith these Literary Magazines. Advan-\nced they are called; let us rather call\nthem good.\nWell, if there be twelve good ma-\ngazines, why ? Why not two ? Why\ndo not these men who have the energy\nto bring them out and pay for them\ncombine ? Why twelve good little\ntheatres and theatre groups ? why not\ncombine and create two ?\nLooking at 44 The Calendar \" I\nthought of how good it was: thought\nof the 44 Adelphi \", of the 44 Mercury \",\nof the44 Chapbook of the rest. Why\nnot combine? why this watertight com-\npartment business? And the twelve\ntheatres ? Bah\n\nTHE DIAL : Monthly. $ 5. a year.\n/52 West 13th St, New York-\nSEEING on the Contents List of a\nrecent number of 44 The Dial \"\nthe announcement that I should find\ninside a gouache by Pablo Picasso on\nthe subject 4 King Lear *, 1 was as\nexcited as I should be were I seated\nin a theatre awaiting the rise of the\ncurtain on a performance of a play by\nIrving.\nKing Lear means King Lear,\nbut to Pablo something less. In fact\nnothing at all like King Lear. Why\nshould 1 be made to recognize King\nLear and his Fool in the 44 Dial \"\nreproduction of a gouache by Pi-\ncasso ? It represents a young man in a\nbeard dressed in a tight-fitting crushed-\nstrawberry coloured affair, seated, with\na hand-organ in his lap, and at his\nside by his feet sits a bit of a boy of\nsome four to five years old dressed in\na harlequin's suit, very neat and tidy,\nwith a little frill of lace at the neck.\nNot King Lear and not his Fool.\nWhy then call it King Lear ? Why\nnot call it Mr Barnum or Mrs Besant?\nWhy not call it King Lear—exactly for\nthe reason that 4 The Dial ' is not\ncalled 44 The Cat\" or 44 I he Mpnk\" :\nSince any name wont do, this Lear\n(which I take it was never delibera-\ntely made to represent Lear) could\nquite as easily have been labelled 44 At\na fair \", or 44 two figures \", or even\n4< Goodbye my fancy \".\nThe two woodcuts by Lucien Jac-\nques seem to me to be uncommon!/\npoor. I have always felt that I could\ndo that (if that's all that a woodcut\nmeans) very easily : so easily, that 1\nthink at any rate it would be the first\nphase of woodcutting and one I would\nI hope soon pass through get over\nand done with before exhibiting\nbefore offering for sale.\nTo get a good woodcut I have to\nturn to the advertisements, and there\nI find a tiny one by Masereel.\nBut 44 The Dial \" is not to be spo-\nken ill of because a title is wrong and\ntwo woodcuts are dull. Not even\nwill its dramatic Criticism make me\nfind fault. For 44 The Dial \" is so\noften full of very interesting things,\nand is so wellprinted, and makes for\ngood all round.\nIts Notes on the Theatre should\nperhaps be written by some one able\nto find out something worth praising.\nMr Seldes writes his bit nicely, but\nseems too bored by Theatricals to\ntake pains to find some of the ge-\nnuine kind : and I'm sure if he look-\ned somewhere out of New York he'd\nfind them.\n\nTHE LITERARY DIGEST. 354-\n360 Fifth Avenue. New York•\nTHIS journal is alway a delight.\nWhether it appeared earlier than\n44 Current Opinion \" and the 44 Re-\nview of Reviews \" I don't know.\nThe three are all alike in their abi-\nlity to entertain. They are the three\nVariety Shows of our English speak-\ning Literary and Political world.\nThe 44 Literary Digest \" and 44 Re-\nview of Reviews \" 1 like best, for I\nsee them regularly and that speaks for\nitself. I can't quite take to a journal\nI don't see. Why hide journals\nbehind the hills ? It's the fault I find\nwith 44 The Mask \", a journal which\nmight well be rechristened 44 The\nViolet \".\nBut 44 The Literary Digest \" is most\namazingly well edited, ....done as well\nas the London Coliseum is managed.\nMr. King and Sir Oswald Stoll have the\nsame genius for doing a thing just as\nwell as it is possible to do it.\n\nTHE BERMONDSEY BOOK.\n2s. Monthly. Heinemann. London<\nTHE BERMONDSEY BOOK IS\nnow in its second volume, and,\nbeginning with its June number (Vol. 11,\nNo. 3), is being published by Messrs.\nHeinemann.\nThis last number contains a cartoon,\n44 The Boy \", by Max Beerbohm, an\narticle by Yoi Maraini on Emilio\nCecchi, that Italian writer who has so\noften served, both by his essays and\ntranslations, as a 44 link between English\nliterature and the Italian public \": a\ncontribution by 44 Bonaventura \" on the\nthird Biennial Exhibition in Roma,\nmaking special reference to the wood\nengravings of Mr. Gordon Craig; and\nother interesting items."}, {"page_pdf": 57, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.57", "texte": "EDITORIAL NOTES.\n\nDRAMA NOT THEATRE.\nWHEN we read of Universities and\nColleges including the study of\nthe Drama in their curriculum we\nfancy we can understand the drift of\nthe idea. But when we read of these\nsame seats of learning undertaking the\npractice of the Theatre, we are puzzled.\nFor we see no use whatever in any\nbut craftsmen becoming skilled in the\nTheatric game.\nOnce upon a time many of the\ngreat colleges of Italy, of Spain and\nFrance, did have theatres built for\ntheir students. And on these stages\nthe young gentlemen rounded off some\nof their sharp corners; their manners\nbecame more elegant. This was a\nvery good use to put the stage to—\nbut none of these young gentlemen\never took up the work of the Theatre\nafterwards. That again was right as\nrain. Young gentlemen should be pre-\nserved for different tasks.\nThe Theatres in the Collegio dei No-\nbili seem to have been three to four ;\nwhen one was found out of date a\nnew one was put in. The Jesuits* pu-\npil teachers I think enjoyed playing at\ntheatres—and the heads of the Col-\nlege found it really was of use to the\nfinal turned-out article.... the young\ngentleman..., which the College turned\nout finally.\nTo walk easily, to know how to\ncarry the head and the hands, how\nnot to fidget or shuffle, how to be\neasy and always ready with a touch of\nBravura, this was what was taught and\nlearned on those college stages. In\nthose days Princes and young lords\nhad to really look like what they\nwere, besides being what they were.\nAnd speech, exact and fine, was much\nliked in noble lords, so speaking had\nto be learnt, ... and how acquire that\nbetter than by acting the part of Be-\nlesarius king of Ethiopia or Calerathmus\nPrince of Barrabara.\nThe Academies always did what\ncommon sense could do to preserve\nthe fine Italian speech.\nBut beyond deportment and the\ngrace of speech there is surely hothing\nelse that can be taught to gentlemen in\na college theatre?\nNowadays even these two things do\not seem to be taught.\nIf anything, slouching and slurred\nf peech is looked on as properer. Gor-\nki's n Nachazil n or Tolstoi's n Do-\nmain of Darkness n or some other\npiece calling for an imitation of low\nlife, that's the order of the day in\ncolleges.—That, and a thorough trai-\nning as a scene painter, stage manager,\ncarpenter, property maker, costumier and\nso forth.\nWe see no use whatever in teach-\ning these things to young gentlemen\nin colleges.... and presumably none\nbut young gentlemen of the upper\ncircles are sent to college.\nFor if young Grande or young Non-\nsuch wish to capitulate and go in for\nthe crafts which we artists favour, they\nmust sink to the third class. Knowledge\nin these crafts they can acquire in spe-\ncializing studios. Even wig-making can\nbe learned in a wig-maker's shop. So\nwe wonder what queer kink of the brain\nhas brought these College and Univer-\nsity Dramatic Theatric branches into\nexistence,\n\nTHEATRE BOOKS.\nIN establishing a Library of books\ndealing with the Drama, the British\nDrama League follows in the footsteps\nof France, Germany, Italy, Japan and\nAmerica.\nThere have been superb collections\nmade of Theatrical books by many a\nprivate owner. Amongst them Farrenc,\nFillippi, Schatz, Rasi, Kanzler.\nIn our British Museum and Victoria\nand Albert Museum are Libraries in\nwhich are to be found valuable books\non the Theatre, but you have to look\nfor them, know what you want,—and\nthen, by jove, read them. That's a\npoint,\nWe shall be curious to see the\nprinted catalogue of the books of the\nBritish Drama League Library which\nhas room for 8000 books.\nWe may expect from now onwards\nfor London dramatic critics to write\nwith rather more information concerning\nmany a thing than was formerly con-\nsidered necessary, for now they need\nonly consult these books.\nBut a subject catalogue will bave to\nbe prepared before anyone can be\nexpected to find what he is looking\nfor .... granted that he himself first\nknows.\n\nTHE POOR PLAYWRIGHT.\nIN these days when one reads tragic\narticles entitled 44 the Dramatist in\ndanger \" or 44 The Playwright mena-\nced \", articles in which the writers\ntremble for the future of these good\nallies of the stage, it is comforting to\nhear of even a modest success achieved\nby any one of them.\nMr Cosmo Hamilton is returning\nfrom America having won to just such\na success and made £ 50,000 (fifty\nthousand pounds) in a single season\nthere, five or six plays of his running\nsimultaneously in New York City.\nWe have not heard of any actor\nor producer who ever took quite so\nmuch out of the playhouse in one\nseason. The awful fate in store for\nPlaywrights seems to be to die of suc-\ncess and rather too much money.\nMr G. B. Shaw cannot surely be a\npoor man: Sir J. M. Barrie we can-\nnot consider as at ail hard up: and\nhere is Mr Hamilton coming in a\ngood third, with £ 50,000 in one year.\nAnd to think that this is all the\nproducer's fault: the producer who has\ndone so much to queer the playwrights'\npitch and to enrich himself while doing\nit ....what ?\n\nINCORRECT.\nTHE DAILY MAIL, our favou-\nrite daily journal because of its\nunderstanding of Signor Mussolini's\npersonality, and our delight on account\nof the way its pages are set up, is\ncuriously open to making glaring errors\nabout Theatrical matters. Not long\nago it wrote of Madame Eleonora Duse\nas \" the great operatic singer **, and\nmore recently (in April) it wrote of\n44 Sumurun ** which was put on the\nParis stage as 44 under the direction of\nthe late Max Reinhardt \" ; and later\nin the same column it refers to him\nas \" the wizard of scenic and colour\neffects who but recently passed away \".\nBut such things are not delibe-\nrate.... only accidentally incorrect, and\nwe wish the 44 Mail \" more and more\nsuccesses by the million, for it was almost\nalone in taking the right view of Signor\nMussolini straight away and has kept\nto that view.\nIf the Duce were one of the poli-\nticians we should not venture to say\nanything. But this is no politician,\nand he has no \" politics \" : he is a\ngreat man of common sense, and the\nonly one in Europe who has what\nwe call vision and is in power."}, {"page_pdf": 58, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192507-01.1.58", "texte": "BRITISH OPERA.\nDOES the British National Opera\nCompany produce British Operas\nand none but British Operas ? If not,\nwhat on earth is it doing masquerading\nunder such a title?\nThere are numbers of British\nOperas available ; not only 44 The\nBeggar's Opera \". There are all Purcell's\nOperas; and has not Delius written\noperas?... Sullivan, Mackenzie, Hamish\nMacCunn too, and Balfe?\nWe think it a pity for Englishmen\nto serve under a flag bearing the\nsplendid words 44 British National Ope-\nra \" when the operas being sung by\nthem are by mostly German, Russian,\nFrench and Italian Composers. It's\nflying false colours isn't it? for translations\nof the words into English do not make\nthe music English.\nAnd we hear that Mr Frederick\nAustin joined the concern not long ago.\nA leaflet issued presumably by\nthe Company and purposing to be a\nmagazine, and called 44 Opera and the\nBallet \", seems to be proud of this\nBritish National Opera Company. We\nmust say we are not as proud of it as\nwe would like to be.\nTo sing foreign Operas, and in\nEnglish, is no particular annoyance to\nanyone, and they are often a pleasure\nto hear. But for any Company to\nlabel itself the 4 British National Opera\nCompany* in order to do that seems\nto us a little unnecessary.\n\no AN OMISSION. o\nMANY people have written to us\nasking why the Foreign Note\nfrom Monza in the last (April) num-\nber of \" The Mask \" had as one of\nits head lines \" Birds and Animals \"\nwhen there was not a word about an\nanimal or a bird in the whole column.\nThe fact is our Correspondent posted\nus two sheets, one of which was some-\nhow mislaid. It referred to the\nbirds and animals kept at the big\nSchool of Art which is today housed\nin the Royal Palace at Monza built\nby Piermarini in 1780, and has a\nspecial interest for English readers,\nIt may be remembered by some\nof those who took an in interest in\nthe establishment of the School for the\nArt of the Theatre by Mr. Gordon\nCraig in 1913, that one of the items\nincluded in his plan wa3 that of\n\" birds and animals, and food for\nsame *\\\nSome short-sighted critics asked\n\" why birds, why animals ? \"To\ncook and to eat them \" they assumed,\nand laughed heartily over their funny\njoke. As a matter of fact it was in-\ntended to study from them : to note\ntheir colours, forms, and their move-\nments ; to draw them, and to derive\nfrom them something which only these\ncreatures have to offer the artist.\n44 The School of Art at Monza \"\nwrites our Correspondent, 44 has a\n44 section of the grounds put aside for\n44 many fine birds and several animals.\n44 I noted some eight or ten well kept\n44 runs for finely marked birds of bril-\n-44 liant colouring. What the species\n44 was I was told but forgot to note ;\n44 if I remember aright there were rare\n44 pleasants, guinea fowls, peacochs,\n44 storks and flamingoes amongst them.\n44 There were also enclosures contai-\n-44 ning gazelles, deer, and other fleet\n44 footed animals\nOur Correspondent was informed\nthat these delicate creatures served as\nmodels for the students.\nWhen Mr Craig's notion was an-\nnounced in London one of the papers\ncontained a headline 44 Comic methods\nfor New Art School \", and a writer\nproceded to inform London that it\nwas a laughable idea to provide birds\nand animals for students to study\nfrom ; besides, it was calculated to be\n44 very costly \". Perhaps the same\ncritic and his following would hold it\nextravagant, 44 very costly \" to provide\na School with a Library.\n\nA DRAMA LIBRARY.\nTHE British Drama League is to\nbe congratulated on the addition\nof a Library to contain 8,000 books\nto its premises at 8 Adelphi Terrace.\nMr Geoffrey Whit worth the Secre-\ntary goes on well with his work doing\njust what is needed.\nThere are some people who will\nof course raise their hands and cry\nout against such a wicked extrava-\ngance. They will say it is a waste of\nthe funds of the League.\nThe only extravagance we can see\nhas been the waste of time in coming\nto a decision to establish such a library.\n\nUNWANTED.\nMR Robert Atkins, referred to in\nLondon journals as a genius of\na producer, is leaving the Old Vic.\nIs it his genius which is in the way,\nor does he wish to better himself ? We\nask for we have never seen his work\nand have no notion what is the stan-\ndard of 1925 genius in London. Bu\nit strikes us as not a little strange 6\nthe Direction to allow even a toucl\nof genius to leave a theatre which\nfrom all we hear, is not overburdenec\nwith an excessive amount.\n\nLUCIEN GUITRY.\nJ. S.\nIN the death of Lucien Guitry ever]\ntheatre-goer who saw him act musl\nmourn the loss of a valuable membei\nof the French stage.\nHe was not a great actor there\nhave been few such in the past fift)\nyears: Salvini and Irving stand well\nabove their contemporaries and proves\nthat while Democracy may do much\nto level many things which need le-\nvelling, it cannot dwarf genius or raise\ntalent till they are as like as two Demo-\ncratic pins and worth a like sum.\nGuitry was a powerful actor and\npower is a quality the European stage\ncan ill afford to lose at this moment,\nBut other powerful actors will come\nto fill his place. After they have ap-\npeared a great actor will appear. It\nis an old trick of that goddess whom\nno one denies Nature. She plays\nthat trick to put the sententious in!\nplace, to curb those who do not be-\nlieve that genius is really what it is,\nnot having a capacity to recognize it.\nToo many of 44 Our Paris Corre-\nspondents \" have snatched as a theme\nthe death of this admirable actor to\ndeliver one more kick on the shins of\nGenius, Nature, the Gods, and trample\non the toes of everything and every-\nbody except their old chums who are\nin the business, and the result has been\nan unusual burst of error: 44 The Last\nof the Titans 44 Our Paris Corres-\npondent \" of one newspaper calls\nGuitry; another 44 the greatest living\nactor \". What a noise around a\npoor old grave.\n\nAll Rights reserved. July 1925.\nGerente responsabile Antonio Maraini.\nTipografia Giuntina, Firenze,"}]}