{"numero_id": "bm-bmtnaau-1925-10-01", "volume": "bmtnaau_1925-10_01", "ocr_sha256": "c156da0f80edea4ff6b68aff43ccb7231b60558a6a18a28a67ec270d0e31385c", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1925/10_01/bmtnaau_1925-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1925/10_01/bmtnaau_1925-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01", "articles": [{"article_id": "bm-bmtnaau-1925-10-01-c001", "article_bluemountain": "bmtnaau_1925-10_01#c001", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192510-01.2.1", "titre_corps": "LA TOPOGRAFIA DI ROMA", "titre_sommaire": "LA TOPOGRAFIA DI ROMA", "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=bmtnaau192510-01.1.2", "debut_caractere": 18, "fin_caractere_exclue": 211, "texte": "LA TOPOGRAF 1A D1 ROMA.\nDouble Plate of Nolli's Plan of Roma, independent of the other plates. Showing the whole Plan on a smaller scale, Piranesi, the Elder, has worked on this Plate.\nPlate 1."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c002", "article_bluemountain": "bmtnaau_1925-10_01#c002", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "4", "image_debut": 3, "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=bmtnaau192510-01.2.2", "titre_corps": "FOREWORD", "titre_sommaire": "FOREWORD", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.3", "debut_caractere": 5, "fin_caractere_exclue": 956, "texte": "FOREWORD\n\nIN Nolli's Plan of Roma, which is here offered for the\nfirst time in a handy form and at a popular price, we\nhave a leaf of genuine History, for it is all fact.\nBooks about the Roma of the 18th century may con-\ntain as much fancy as fact, and that in time renders them\nof little use to the historian. We talk of the Roman streets,\nof the Palaces, Theatres, Churches and other monuments;\nwe write of the Piazza Navona or the Palazzo Rospigliosi,\nand though all these may be known by hearsay to us they\nstill remain vague, ....vague as to position, form, size, and\nin their relation to their surroundings.\nWe may have seen these places, but. perhaps forgotten\none of them, and, certainly, quite forgotten where they are\nplaced, how surrounded, or how one reaches them from\nthe Porta del Popolo or from the Porta di S. Giovanni\nLaterano.\nAsk yourself to define the track leading from Porta\ndel Popolo to the Piazza Navona without looking at any"}, {"page_pdf": 4, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 1537, "texte": "plan. It is only a matter of pulling down a few street\n....but can you do it?\nTo save you the trouble here is Nolli. He can stanc\non your desk in his present form: in 1748 he was far to<\nbig a book to be handy: and even if you can get a cop)\nnow it is too large to serve you as reference book, for it i:\na folio of thirty six pages, and measures one foot sever\ninches by one foot two inches.\n4 4 The Mask \" having seen that, besides this plan oi\nRoma being one of the very best, it was used frequently bj\nthe most active students of the Theatre, thought that, by\nreducing it to a practical size it would be doing some ser-\nvice. So now you can have your Mollis Plan of Roma\nclose at hand to refer to when rereading the many books\nwhich deal with Roma, no matter what the subject. Not\nonly theatrical students but scholars of all kinds will find\nit useful.\nThe Plan illustrates many hundreds of books, but it\nalso corrects, and with authority, a number of them, sup-\nplementing others. Errors have sometimes crept into these\nDooks because the chief guide, ie Roma itself, was not\nproperly followed.\nNolli shows us eight Theatres, most of them very\nclearly defined. Teatro Alibert, 296:\nTeatro Argentina, 771:\nTeatro Capranica, 332:\nTeatro de' Granari, 618:\nTeatro della Pace, 611:\nTeatro della Pallaccorda, 444:\nTeatro di Tordinona, 536:\nTeatro della Valle, 795.\nBut we must not forget that this short list of eight thea-\ntres represents none but the 44 public playhouses \": and thai\nin many a palace was a magnificent Teatro privato oi\n»"}, {"page_pdf": 5, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1857, "texte": "a Teatrino. And, lest we develope any wrong notion about\nRoma and its manner of doing things of this kind in the\nseventeenth and eighteenth Centuries, let us state what a\nprivate Theatre was not in those days.\nMerely because it was private, it was not anything\nwhich today we call \"amateurish but inasmuch as it was\nan \" amatore delle arti\", a lover of the arts, who devoted a\nlarge portion of his wealth and time to the care of his\nTeatro, so was the work amateurish, but only in this sense.\nDevoting time and money to his Teatro did not as\na rule mean that he interfered with the work, the con-\nstruction of the place, the production or composition of plays,\n>pera or ballet. Counts Pepoli and Albergatti, two of the\noremost amatori d'arte of Italy, did assuredly write plays,\ntnd perform in them; but as a rule the great people of\nloma made and kept their private theatres more for the\nentertainment of their guests and to avoid the inconvenien-\n:es of the public playhouses with their crush, draughts,\nloise and suffocation.\nAmongst those who had Private Theatres in Roma\nvere the Queen of Poland, Maria Casimira, who in 1709\nived in Pal azzo de Torres alia Trinita del Monte: Olimpia\n\\ldobrandini, the famous Principessa di Rossano; the\nSpanish Ambassador whose private theatre in the Spanish\n3alace was built in 1688: the Barberini family, whose\nheatre it is said seated 3000 people and was opened in\n1634. The Prince Galicano had a private Theatre at\nvhich Evelyn in 1645 witnessed \" a magnificent opera \".\nThen there was the teatro of Palazzo Rospigliosi; those of\n3alazzo Corsini; of Palazzo Colonna in Borgo, (the Co-\nonna family had it seems two private theatres, one of these\nmown as \" il grand teatro del Contestabile Colonna \"); of\nthe Palazzo Panfili in the Corso; and of the Collegio Ro-\nmano. The most fashionable theatre of 1639 was a pri-"}, {"page_pdf": 6, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 534, "texte": "vate Theatre built by Bernini in the Fonderia del Yati-\ncano. Lastly there was the teatrino built for Cardinal Pietro\nOttoboni by Juvarra in about 1 700, a building of three\ntiers and most beautifully designed interior. We have seen\nthe almost unknown original designs. In 1678 during the\ncarneval there were 130 comedies given in the private\ntheatres of Roma.\nBut most of our readers probably know all about\nthese places and what was performed there, and the Plan\nis nnlv to serve as a means of locating their exact positions.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c004", "article_bluemountain": "bmtnaau_1925-10_01#c004", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "34", "image_debut": 7, "image_fin": 36, "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=bmtnaau192510-01.2.3", "titre_corps": "A NEW PLAN OF ROMA : by GIOVAN BATTISTA NOLLI.(1) PUBLISHED IN THE YEAR MDCCXLVIII", "titre_sommaire": "A NEW PLAN OF ROMA : by GIOVAN BATTISTA NOLLI.(1) PUBLISHED IN THE YEAR MDCCXLVIII", "signature_source": "GIOVAN BATTISTA NOLLI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2677, "texte": "A NEW PLAN OF ROMA\nBY GIOVAN BATTISTA NOLLI.(1)\nPUBLISHED IN THE YEAR MDCCXLVIII.\n(i)\nFOREWORD BY THE DESIGNER.\nALTHOUGH the leaves of the large Plan\nof Roma ought to be all united\ntogether, so as to have them all extended\nbefore the eye, as are usually all Geo-\ngraphical Maps, yet, if it should please\nanyone to have them bound, in book form,\nit is to be noted that, to be able to make\nuse of its indexes, desiring to find those\nBuildings or Places which are in the same\nPlan, it is necessary first to find in the\nalphabetical Index the name of that Buil-\nding or Place which one is seeking, and\nio see what is the number by which it\nts indicated on the sheets ; then the same\nnumber is found in the other numerical\nIndex, and in this wise one will know in\nwhich Rione it is described : and, seeing\nin that same Rione the number already\nfound, one will see the Place or Building\ndesired. At the top of each sheet are\nrepeated the Rione,and, some being de-\nscribed in a single sheet, others in several\nsh eets, there is indicated, beside the name\nof each one, those sheets in which some\npart of this same Rione is included, and\nin one of which there will be found the\nnumber of the Building, or Place, which\none seeks.\nRIONI OR DIVISIONS OF THE CITY.\nRione I. Monti Sheet 14. 15. 16. Rione VIII. S. Eustacio 19.\n20.21.22.27. « IX. Pigna 19.\n28.\n\" II. Trevi 20.21.26.27. X. Campitelli 6.9.14.15.19.\n\" III. Colonna 19. 20. 25. 26. \" Xl- S- AnSel° l9'\n27. \" XII. Ripa 5.6,8.12.13.\n\" IV. Campo Marzo 19. 25. 26. 19.\n\" V. Ponte 18.19.24.25. \" XIII. Trastevere 12. 13. 18. 19.\n\" VI. Parione 18. 19. 24.\n\" VII. Regola 18.19. 11 XIV. Borgo 23.24.\n\n(1} IAMB A TTISTA, or Giovan Battista Nolli was born at\nVJT Como, in Italy, about thebeginning of the eighteenth\ncentury. An architect by profession, he built the church of\nS. Dorotea in Roma, and in 1748 made a plan of that city,\nwhich was issued under the title of \" Nuova Pianta di Roma\nIt is a plan of the modern city with indications of the ancient\nruins, and was considered the finest which had been executed\nup to that time. Some years later, about 1755, he made another\nplan of ancient Roma.\nHe died in 1780, ten years after his son Carlo, who, a\npainter and engraver, predeceased him, in Naples where he\nhad gone to work for the King of Naples, in 1770.\n(2) r I AHERE are two Indexes in the original edition. We\n1 have not included the Alphabetical Index, thinking that\none Index would be enough for the moment. We have used\nthe two, and find the one i?icluded here to be the more useful\nof the two.\n*\nBUT we will give the Alphabetical Index in the next\nnumber of \" The Mask and those who wish can\nhine the whole work together."}, {"page_pdf": 8, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 658, "texte": "INDEX OFNUMBERS ON THE PLAN.\nRIONE I. - MONTI.\n1. Chiesa di S. Stefano Rotondo T.C. 43\n2. Strada della Ferratella\n3. Ruine Antiche 44\n4. Abitazione de' PP. Penitenzieri di\nS. Gio. Laterano\n5. Cliiesa patriarc. e\" Paroc. di hS. Gio.\nLaterano\n6. Palaz Pontifieio ora Conservatorio di\nZitelle\n7. Cbiesa di S. Maria in Fonte\n8. Chiesa delle SS. Rufina, e Seconda\n9. Chiesa di S. Gio. in Fonte\n10. Obelisco gi& del Circo Massimo\n11. Sped, di S. Gio. per gli Uomini\n12. Cliiesa di S. Andrea unita al d. Sped.\n13. Sped, di S. Gio. per le Donne\n14. Obelisco Lodovisio giacente\n15. Sancta, Sanctorum e Scala santa\n16. Orat e Confrat del Sagramento in\nS. Gio. Laterano"}, {"page_pdf": 9, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 685, "texte": "17' 'lieid(leLLxivU'0 linovato da N* S'\nBenedetto XIV\n• £a*P. f. Margarita\n19. Cap. di S. M. de Cisterciensi\n<20. Anfiteatro Castrense\n2L. Chiesa di S. Croce in Gernsalem T.C.\no0 t °? Cisterci Lombardi\n-2. lenipio di Venere, e Cupidine\n23. Strada Felice\n24. Terme di S. Elena\n25. Acquedotto di Claudio Imp.\n26. Tempio di Minerva Medina\n27. Chiesa di S. Bibiana\n28. Chiesa di S. Matteo in Merculana T.C.\ne conv. di Agostiniani Jrland.\n29. Chiesa di SS. Pietro? e Marcellino\nT. C. e Monast. de Maroniti di S. An-\ntnnin AW(,\n,,n /u,;!\" aJ pi t rT. n n\nChiesa di S. Clemente I. C. e Conven.\n\"e' Ibernesi\n31- Chiesa di S. Maria di Loreto, e Ospi-\nzio de Convalescenti\n32. Terme di Tito Imp."}, {"page_pdf": 10, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 755, "texte": "33. Conserve d'acqua per d. Terme dette\nle sette sale\n34. Strada delle sette sale\n35. Palaz, e Villa Gaetani\n36. Chiesa di S. Giuliano, e Ospiz. dei\nCarmelit. della Provin. Romana\n37. R. A. d' volgarmente, i Trofei di\nMario\n38. Chiesa di S. Eusebio I. C. e Monast\nde' Celestini\n39. Ruin© credute della Villa di Meceuate\n40. Chiesa de' SS. Vito e Modesto D.C. e\nMonasterio de Cistercien. della Pro-\nvincia Romana\n41. Arco di Gallieno Imp.\n42. Chiesac'della Conceze e conservatorio\ndetto delle Viperesclie\n43. Memoria della Reconciliazione di En-\nrico IV\n44. Argine di Tarquinio\n45. Chiesa di S. Antonio Abate, e casa\nde' Canonici Reg. di d. Santo di Vien-\nna in Erancia\n46. Sped, di S. Antonio Abate\n47. Abitazione de' PP. Penitenzieri d.\nS. Maria Maggiore"}, {"page_pdf": 11, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 716, "texte": "48. Colonna gia del Tempio della Pace\n49. Chiesa patriarc. di S. Mi Maggiore\n50. Obelisco gia del Mausol d'Ang.\n51. Palazzo Ciarnpini.\n52. Strada Paolina\n53. Palazzo Ravenna\n54. Strada dell' Olmo\n55. Palazzo Pocavena\n56. C. P. di S. Prassede T. 0. e Monast.\nde Vallombrosani\n57. Strada della Coroncina\n58. C. P. di S. Martino a' Monti T. C. e\nconv. de' Carroelitani con mine cre-\ndute delle Terme di Tito\n59. Chiesa di S. Lucia in selee e Monast.\ndi Agostiniane con R. A. e Torre\n60. Chiesa di S. M. della Purificazione e\nMonast di Monaclie di S. Chiara\ncon It. A,\n61. Cap. gia S. M. in Monasterio\n62. Monast. di Oblate di S. Francesco di\nPaola\n63. Yicolo di Monti Pollaeco\n64. Cbiesa di S. Pietro in Vincoli T. C. e"}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 629, "texte": "Monasterio di Canonici Reg. di S. Sal*\nvatore\n65. C. P. di S. Franc, di Paola e conv.\nde' Minimi di Calabria con Tore\n66. Orat. e confr. di d. Santo\n67. Chiesa della concezion e Monast. di\ncappuccine dette Farnesiane\n68. Vicolo dell'Agnello d° Scelerato\n69. Vicolo del Cardello\n70. Chiesa di SS. Andrea Apost. e Ber-\nnardino de' Rigattieri\n71. Tempio creduto d' Isside e Serapide\n72 Chiesa di S. Francesca Romana e\nMonasterio d' Olivetani\n73. Arco di Tito Imp.\n74. Tempio della Pace\n75. Conservatorio delle Zitelle Mendicanti\ndel P. caravita\n76. Chiesa di S. Pantaleone a'Monti e\nconvitto di Preti Secolari\n77. Yicolo del Pozzolo"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 604, "texte": "78. Yicolo de'Pozzi\n79. Strada Alessandrina\n80. Ohiesa de SS. Cosmo, e Damiano D.C.\ne con. de' PP. del 3 ordine di S. Franc0\n81. Chiesa di S. Lorenzo in Miranda de'gli\nspeziali gi& Tempio d'Antoniuo, e\nFaustina\n82. Strada della salara vecchia\n83. Yicolo del Lauro\n84. Strada del Sole\n85. Avanzi del Foro Palladio, o di Xerva\n86. Torre di Conti\n87. Piazza delle Carrette\n88. Yicolo delle Pernicone\n89. C. P. de SS. Quirico, e G-iulitta T. C.\n©Ospizio de' Domenicani di S. Marco\ndi Firenze\n90. Orat. e Confr. del Sagramento in detta\nohiesa\n91. Strada di Torre de' eonti\n92. Chiesa di S. Agata de' Tessitori"}, {"page_pdf": 14, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 769, "texte": "93. Strada della Croce Bianca\n94. Chiesa di S. Adriauo D. C. e conv.\nde' PP. della Mercede della prov.\nRoman a\n95. Orat. di S. M. del Riscatto degli\nAcqnavitari e Tabaccari\n96. Arco di Settimio Severo\n97. Chiesa de SS. Martina e Luca del-\nl'accademia de'Pittori\n98. Strada Bonella\n99. Strada del Priorato\n100. Palazzo Ghislieri\n101. Strada Creriiona, e Mannorella\n102. Strada delle Chiavi d'oro\n103. Chiesa di S. Urbano, e Monastero delle\nMonache Cappuccine\n104. Vicolo di Carbonari\n105. Palazzino Conti\n106. C. P. di S. Lorenzo a' Monti\n107. Strada di Testa Spaccata\n108. Strada di Marforio\n109. Palazzino Carandini\n110. Palazzino Mantica con sepolcro di\nCajo Pnblicio\n111. Luogo della Ripresa de' Barbari\n112. Piazza di' Marcel de' Corvi\n113. Piazza e colonna Trajana"}, {"page_pdf": 15, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 728, "texte": "114. Chiesa delio Spirito Santo, e Mona-\nstero di Canonicliesse Lateranensi\n115. Chiesa di S. Enfemia, e Conserva-\nt.orio di Zitelle\n116. Vicolo de' Taroli\n117. Palazzi Cevra\n118. Salita di Monte Magnanapoli\n119. Ruine de' Bagni di Paolo\n120. Ospizio per le vedove\n121. C. P. di S- Min. Oampo Carleo\n122. Strada di Campo Carleo\n123. Chiesa dell' Annunziatn, e Monast.\ndi Donienicane nel Foro di ISTerva\n124. Arco di Pontani\n125. Yicolo degli Ibernesi\n120. Collegio degli Ibernesi\n127. Piazza del Grillo\n128. Palazzo del Grillo con Torre\n129. Salita del Grillo\n130. Chiesa di S. Caterina di Siena, e\nMonastero di Donienicane con Torre\n131. Chiesa di SS. Domenico, e Sisto, e\nMonastero di Domenieane della Pro-\nvincia di Lombardia"}, {"page_pdf": 16, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 560, "texte": "132. Cbiesa di S. Bernardino, e Monast.\ndi Monacbe del 3 ordine di S. Franc0\n133. Collegio Faccioli\n134. Strada Bacciua\n135. C. P. di S. Salvatore, e Casa de' Ca-\ntecuraeni\n136. Orat. di S. Gio. Battista de' Neofiti\ne conservat. delle Neofiti\n137. Cliiesa di S. Maria de Monti e Col-\nlegio de Neofiti in cura de Pij Operari\n138. Orat. e Confr. di S M della Neve\n139. Strada Leonina\n140. Cliiesa di S. M. del Pasrolo, e Ospiz.\nde Monaci Basiliani Kuteni\n141. Strada de Serpen ti\n142. Strada delle Carrette\n143 Abitaze Stefanoni con Torre\n144. Vicolo del Sambuco"}, {"page_pdf": 17, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 523, "texte": "145. Piazza de' Zingari\n146. Strada Clementina\n147. Yicolo di Cimarra\n148. Palazzo Passarini\n149. Palazzo Cimarra\n150. Yicolo di Ciancaleone\n151. Strada Paradisi\n152. Strada TTrbana\n153. Cliiesa di S. Lorenzo in Fonte e\nOspiz. TTrbano de' Coitegiani\n154. Piazza, e Strada della Suburra\n155. Ospiz. de Benfratelli Spagnnoli\n156. Strada Graziosa\n157. Cliiesa delPAnnunziata e Monast. di\nAgostiniane de le Turchine\n158. Monnst. delle Filippine\n159 Abitazione Cantarelli con Torre\n160. Salita di Sforza\n161. Vicolo di Buinaglia"}, {"page_pdf": 18, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 611, "texte": "162. Chiesa del Bambino Gesu e convitto\ndi oblate Agostiniani\n163. Vicolo della Caprareccia\n164. Chiesa di S. Lorenzo in Pane, e\nPerna T. C. e Monast. di Monache\ndi S. Chiara con It. A.\n165. Torre nella Yigua di Monache\n166. Strada del Boscbetto\n167. Palazzino Corasoli\n168. Chiesa di S. Agata in Snburra D. C. e\nMonast. de'Monaci di Monte Yergine\n169. Palazzo Panfiii\n170. Palazzino Reali\n171. Vicolo de' Mazzarini\n172. Palazzo Pianetti\n173. Palazzo Rospigliosi\n174. Palazzo della Consulta\n175. Chiesa di S- M. Maddal. a Monte\nCavallo e Monast. di Domenicane\n176. Chiesa del Sagramento, e Monast.\ndi Cappuccine"}, {"page_pdf": 19, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 670, "texte": "177. Chiesa di S. Andrea, e Eoviziato\nde Gesuiti\n178. Chiesa di S. Vitale unita a detto\nNoviziato\n179. Chiesa di S. Anna e S. Gioachino,\ne Ospiz. de' Carmelitani Scalzi\n180 Chiesa di S. Carlo, e Ospiz. de' Tri-\nnitari Scalzi Spagnuoli\n181. Quattro Eontane\n182. Chiesa di S. Dionisio, e conv. de\nTrinitari Scalzi Francesi\n183. Strada di S. Vitale\n184. Palazzino dell' Emo Albani S. Cleme\n185. Chiesa di S. Paolo p. Eremita e Ospiz\ndi Eremiti TJngari di d° Santo\n186. Chiesa di S. M. della Sanity, ©\nS. Efrem, e Ospiz. per Siriaci\n187. Palazzino dell' Emo Alessandro Al-\nbani\n188. Cliiesa di S. Pudenziana T. C. e\nMonast. de Cistercien. Riforni; di\nS. Bernardino con R. A."}, {"page_pdf": 20, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 544, "texte": "189. Chiesa di S. Norberto. e Collegio de\nMonaci Preraostrateusi\n190. Palazzo Albani\n191. Chiesa di S. Teresa, e Monast. di\nCarmelitane Scalze\n192. Cbiesa dell' Incarnazione e Monast,\n> dell© Carmelit di S. M. Maddalena\nde' Pazzi de le Barberine\n193. Cbiesa di S. Caionnita al d° Monnst.\n194. Ospiz. di Ermiti Camaldolesi To-\nscani\n195. Chiesa di S. Bernardo T. C , e Mo-\nnast. di Cistercien Pi form. cli d.\nSanto\n19G. Orat. di S. Caterina unita alia Sudetla\n197. Granari Pubblici\n198. Piazza di Termine\n199. Palaz, © Villa Negroni gia Montaltq"}, {"page_pdf": 21, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 342, "texte": "200. Conserve <1 Vienna delle Tonne Dio-\ncleziane \"\n201. Luogo dove si seppelliscono i x>r°te-\nstanti\n202. Castro Pretorio\n203. Chiesa di S. M. degli Angeli T. C, e\nMonast. de' Certosini nolle Terme\nDioeleziane\n204. Granari pubblici\n205. Fontana dell'acqua Felice\nRIONE II, - TREYI.\n206. C. P. di Susanna T. C. e Mouastero\ndi Monaehe Cisterci"}, {"page_pdf": 22, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 482, "texte": "207. Cliiesa di S. Maria del la Vittoria e\nconv : de' Carmelit Scalzi Italiani\n208. Tempio detto <1 i Venere\n209. Avanzi del Circo do di Flora\n210. Yicolo del Falcone\n211. Chiesadi S. Nicolb di Tolentino e coil-\nvento di Agostiniani Scalze con Torre\n212. Vicolo della Colonna\n213. Cliiesa di S. Basilio, e Monastero\ndi Basiliani Italo-Greci\n214. Piazza Barberina gia Sforza e Gr;-\nman a\n215. Palazzo Barberini con Guglia gia-\ncente nel Cortile\n216. Palazzo Barberini per la famiglia"}, {"page_pdf": 23, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 340, "texte": "217. Palazzino Galloppi\n218. Chiesa di S. Andrea e Collegio Scoz-\nzese\n219. Palazzo Grimani\n220. Strada Rasella\n221. Cliiesa di S. Maria della Neve e\nOspiz. de Cistercien. Risorm. Fuliensi\n222. Yicolo degli Avignonesi\n223. Yicolo della Palma\n224. CP di S. Nicolo in Arcione, e\nOspiz. de' Servi di Maria\n225. Orat, del bmo Crocif. agonizante"}, {"page_pdf": 24, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 487, "texte": "della Confr. del Sagramt0 di detta\nChiesa\n226. Palazzo dell' Emo Gentili\n227. Vicolo de Gallinaccio\n228. Chiesa di S. Gio. e Colleg de' Ma-\nroniti\n229. Strada de Maroniti\n230. Palazzo del Emo Alberoni\n231. Cliiesa e Confr. de SS. Angeli Cu-\nstodi\n232. Palazzo Panfili\n233. Acquedotto delPacqna Vergine\n234. Palazzo Bufalo\n235. Strada della Cliiavica del Bufalo\n236. Cliiesa di S. Claudio de Borgoguoni\n237. Yicolo del Merangolo\n238. C. P. di S. M. in Via T. C. e conv,\nde' Servi di Maria"}, {"page_pdf": 25, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 542, "texte": "239. Orat. e Confr. del Sagr. ind. Chiesa\n240. Piazza di Poli\n241. Palazzo Conti\n242. 0. P. di S. M. in Trivio, e casa de\nMinistri degli Infermi\n243. Fontana di Trevi e sua Piazza\n244 Palazzo Cavalieri\n245. S trad a Kuova\n246. Piazza © Vicolo di Scanderbecli\n247. C. P. de' SS. Vincenzo ed Anastasio,\ne Casa de' Chierici Minori\n248. Yicolo del Babuccio\n249. Dataria Apostolica, e Eesidenza del\nDatario\n250. Palazzo Pontificio nel Quirinale\n251. Orat. del Beato Nicold de' Rnpe\nnella Guardia de' Svizzeri\n252. Piazza di Monte Cavallo con Font."}, {"page_pdf": 26, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 685, "texte": "253. Quartieri per la Guardia Reale\n254. Scuderia Pontificia\n255. Abitazione per la Famiglia Pontif.\n256. Chiesa di S. Croce, e Bonaventura\nde' Lncchesi con Spedale\n257. Palazzo Testa Piccolomini\n258. Palazzo e Giardino del Contestable\nColonna con R. A.\n259. Chiesa di S. Silvestro, e Noviziato\nde' Teatini\n360. Palazzo Vidman, e Ospizio de' Ve-\nscovi Yeneti\n201. Palazzo Florenzi\n262. Palazzo Molara\n263. Piazza delle 3 Cannelle, e Fontana\n264. Palazzino Stella\n265. Abitazione della Famiglia di Casa\n( olonna con Torre\n266. Palazzo Grassi\n267. S. M. del Carmine Orat della Confr.\naggregata alia Cliiesa di S. Marti no\na' Monti\n268. Vicolo de' Colonnesi con Arco\n269. Palazzo Cigolini"}, {"page_pdf": 27, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 590, "texte": "270. Palazzo Scarlatti\n271. Palazzo Papi\n272. Chiesa e confr. del Nome di Maria\n278. Palazzo Bonelli\n274. Cliiesa di'S. M. di Loreto dell' Uni-\nversity de' Fornari Italiani\n275. Spedale dell' universita snd.a\n276. Palazzo Parracciani\n277. Palazzo Bolognetti\n278. Cliiesa di S, Romnaldo, e Ospizio\nde' Camaldolesi\n279. Palazzo Altemps Isimbardi S, Casa\ndi Lore to\n280. Vicolo del Piombo\n281. Palazzo e Giardino Colonna\n282. Strada della Pilotta con due Ar-\nchi\n283. C. P. de' S.S. XII Apostoli T. C. e\nconv. de'Minimi Conventuali\n284. Palazzo Odescalco\n285. Palazzo dell'Accademia di Francia"}, {"page_pdf": 28, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 736, "texte": "286. C. P. di S. Marcello T. C, e Con-\nvento de' Serviti\n287. Orat. © Conf. del Crocif. in d. Chiesa\n28S. Palazzo Millini\n289. Palazzo Muti Papazzurri\n290. Palazzino della Comp. de'SS. XII\nApostoli\n291. Strada del Umilta\n292. Palazzo Mnti Papazzurri\n393. Piazza della I'ilotta\n294. Palazzo Ciogni\n295. Palazzo Grimaldi\n296. Chiesa di S. M. dell' Uroilta, © Mo-\nnastero di Domenicane\n297. Palazzo Maccarani\n298 Strada dell© Vergini\n299. Chiesa di S. M. dell© Vergini, e Mo-\nnastero di Agostinian©\n300. Palazzo Colonna di Carbognano\n301. Strada dell© Mnratte\n302. Piazza di Sciarra, © Arco di Carbo-\ngnano\nElOKE III. - COLONEA.\n303. Palazzo dell' Ereditk Lanci\n304. Ospiz. di S. Croc© de' Monaci Ci-\nstercien di Lombardia\n305. Piazza Rosa"}, {"page_pdf": 29, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 697, "texte": "306. Palazzo Spada\n307. Yicolo del Pozzo\n308. Yicolo di Cacciabove\n309. Palazzo Ghigi\nColonna di Marco Aurelio, e Piazza\ndetta Colonna\n311. Palazzo dell' Ospizio Apostolico Abi-\ntazione di Monsig Yicegevente\n312. Palazzo della Casa degii Or fan i\n313. Palazzo del Cinque\n314. Palazzo delle Monaclie Agostiniane\ndella Terra di Calvi\n315. Piazza di Pietra\n316. Chiesa de SS* Bartolomeo e Alessan-\ndro e Sped, de Bergamaschi, e Colleg.\nCerasoli\n317. Palazzo Niccoliui\n318. Palazzo Guelfi Camaiani Montauti e\nKovarelli\n319. Yicolo dell'Archetto\n320. Palazzo Montecatini\n321. Palazzo di S. Giac. degli Incurabili\n322. Dogana di Terra con Colonue An-\ntiche\n323. Cliiesa di S. Mauto\n324. Seminario Komano"}, {"page_pdf": 30, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 791, "texte": "ooc Palazzo Serlupi\n326. Vicolo de* Pastini\n327. Vicolo della Spada d'Orlando\n328 Palazzo della Confr. del Rosario con\ndue Colonne Antiche nel Cortile\n329. Piazza Capranica\n330 CP di S. M. in Aquiro D. C. e Col-\n' legio'Salviati e casa degli Orfani\n331. TEATRO CAPRANICA\n332. Teatro Cap-ranica\n333. Collegio Capranica\n334. Chiesa di S. M. Maddalena, e Casa\nde' Ministri degli Infermi\n335. Vicolo delle Colonuelle\n336. Palazzo delle Monac. di Campo Marzo\n337. Strada di Monte Citorio\n338. Piazza di Monte Citorio, e Piedestallo\ndella Colonna Antonina\n339. Palazzo dell'Ospiz. Apostolico d('\nl,a Curia Innocenziana\n340. Colonna Antonina giaoente\n341. Chieaa della Sma J riuitit, e Casa\nde Missionary\n342. Palazzo Mariscotti\n243. Palazzo Rondinini\n344. Palazzo Conti con Obehsco Solare\ngiacente"}, {"page_pdf": 31, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 757, "texte": "345. Palazzo Paiorabara\n346. Palazzo Yerospi\n347. Palazzo Teodoli\n348. Palazzo Grhigi per la famiglia\n319. Palazzo Magnani\n350. C. P. di S. Lorenzo in Lucina T. C.\ne Casa di Chierici Minori\n351. Palazzo Ottoboni con Torre\n352. Palazzo Araadori Prelatura\n353. Sito dell'Arco di Marco Aurelio gi^t\nd° di Portogallo\n351. Strada del Gambaro\n355. Palazzo Raggi\n356. Chiesa diS. M. Maddalena e Monast.\ndi Agostiniane dette le Convertite\n357. Chiesa di S. Silvestco in Capite T* C.\ne Monast. di monache di S. Chiara\n358. Strada della Vite\n359. Strada Frattina\n360. Strada del Moretto\n361. Chiesa di S. Grio. e Ospiz de'P.P,\ndella Mercede Scalzi Spagnuoli\n362. Palazzi Bernini\n363. Palazzo Olgiati\n361. Chiesa de' SS. Re' Magi, e Collegio\nTJrbano di Propaganda Fide"}, {"page_pdf": 32, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 7557, "texte": "365. C. P. di S. Andrea delle Fratte, e\nConvento de'Minimi\n366. S.S. Andrea Apost. e Franc, di Paola\norat della confr. del Sagramento in\nd. Chiesa\n367. Collegio Nazzareno\n368. Palazzi de'Angelis\n369. Piazza de' due Macelli\n370. Strada Paolina\n371. Yicolo de Zucchelli\n372. Cbiesa di S. M. dell'Idria detta di\nCostantinopoli de' Siciliani\n373. Chiesa di S. Giuseppe a' Capole\nCase e Monastero di Teresiane\n374. Chiesa de SS. Iddfonso, e Tomaso\ndi Villanova, e Ospiz. di AgGstiniani\nScalzi Spagnuoli\n375. Chiesa di S. Francesca Bomana e\nconvento di Trinitari Italiani\n376. Orat. dell'Assunta della Confr. del\nSagram. di S. Susanna\n377. Ospiz. di Benedettini Spagnuoli\n378. Palazzino Perucclii\n379. Strada della Purificazione\n380. Chiesa della Sma concezione, e\nconvento de' Cappuccini\n381. Palazzo Lucatelli\n382. Palazzo e Yilla Ludovisi\n383. Strada Salara\n384. Chiesa di S. Isidoro e Collegio de'\nMin Osservanti Irlandesi\n385. Palazzo Guarnieri\no BIONE IY. - CAMPO MABZO. o\n386. Palazzo Tomati\n387. Strada Gregoriana\n388. Piazza Mignanelli\n38th Palazzi Mignanelli\n390. Palazzo Zuccari, Nazari Comp. della\nNunziata\n391. Chiesa della Trinita de'Monte T. C.\ne Convento de' Minimi Francesi\n392. Palazzo, e Villa Medici\n393. Obolisco in detta Yilla\n394. Cap. di S. Gaetano in da Yilla\n395. Piazza di Spagna\n396. TEATBO DETTO D'ALIBEBT\n397. Strada Margntta\n398. Palazzo Boncompagni\n399. Fontana, e Strada del Babuino\n400. Vicolo del Borghetto\n401. Chiesa P. di S. M del Popolo T. C.\ne conv. di Agostiniani Lombardi\n402. I uogo dove si sepelliscono gP Impe-\nnitenti e Muro Tor to\n403. Piazza del Popolo con Fontana, e\nObelisco gi& del Circo Massimo\n404. Cbiesa di S. M. di Monte Santo, e\nconvento di Carmelitani Biformati\n405. Strada Laurina\n406. Strada Orsini\n407. Cbiesa di Gesu, e Maria, e Convento\nd'Agostiniani Scalzi\n408. Oratorio e Confr. di Gesu, Me Giu-\nseppe\n409. Chiesa di S. Atanasio de' Greci\n410. Arco, e Strada de' Greci\n411. Collegio Greco\n412. Cbiesa di S. Orsola, e Monastero di\nAgostiniane dette le Orsoline\n413. Strada Yittoria\n414. Strada de' Sediari\n415. Palazzo Gomez\n416. Strada della Croce\n417. Strada delle Carozze\n418. Palazzo della Beligione di Malta\n419. Palazzo della Porta\n420. Strada della Serena\n421. Palazzo della Trinita de' Pellegrini\n422. Strada Condotti\n423. Cbiesa della Trinita e ospizio de'\nTrinitari Castigliani\n424. Oratorio e Conf. del Sagramento in\nS. Lorenzo in Lncina\n425. Palazzo Avogadri\n426. Palazzo Nunez\n427. Palazzo Maruscelli\n428. Strada Porgognona\n429. Palazzo di Spagna\n430. Strada di Boccaleone\n431. Yicolo del Gambaro\n432. Palazzo Manfroni\n433. Strada del Corso\n434. Palazzo Buspoli\n435. Strada del Leoncino\n436. Piazza della Torretta\n437. Palazzo della S. Casa de' Loreto\n438. Piazza di Campo Marzo\n439. Palazzo Valdina Cremona\n440. Cbiesa di S. M. in Campo Marzo e\nMonast. di Benedettine, con 2 chiese\ninteriori di S. Maria, e di S. Grego-\nrio Nazzinzeno\n441. Strada di Campo Marzo\n442. Piazza di Firenze\n443. Yicolo di Ascanio\n444. TEATBODELLAPALLACCOBDA\n445. Palazzo Cardelli\n446. Palazzo'di Firenze\n447. C. P. di S. Nicolb de' Perfetti e\nospizio di Domenicani di S. Sabina\n448. Oratorio e Confr. del Sagramento e\nS. Catarina di Siena in da. Cbiesa\n449. Yicolo della Lupa\n450. Cbiesa di SS. Biagio, e Cecilia de'\nMaterassari\n451. Palazzo Borghese\n452. Piazza Borghese\n453. Palazzo Borghese per la Famiglia\n454. Vicolo del Merangolo\n455. Piazza di Monte d'Oro\n456. Ospizio de' Liegesi\n457. Palazzino Quarantotto\n458. Strada del Macello\n459. ChiesaColleg: di S. GirolamodeSchia-\nvoni T. C. con Spedale per Nazionali\n460. Strada del Grottino\n461. Cbiesa di S. Ambrogio, e S. Carlo\ndi Milanesi con Spedale\n462. Oratorio e Confr. de' Milanesi\n463. Strada di Schiavoni\n464. Piazza delle Carrette\n465. Piazza degli Otto Cantoni\n466. Strada, e vicolo delle Colonnelle\n467. Yicolo della Pergola\n468. Chiesa e Confr. di S. Bocco\n469. Oratorio sotto la detta Invocazione\n470. Spedale per gli Uomini\n471. Spedale per le donne partorienti\n472. Maus. di Augusto, e Palazzo Correa\n473. Strada de' Pontefici\n474. Yicolo della Frezza\n475. Palazzo Minucci\n476. Chiesa di S. Giacomo degl'Incurabili\n477. Spedale per le donne\n478. Spedale per gli Domini\n479. Chiesa di S. M. Porta Paradisi\n480. Sped, dismesso di S. Giacomo sud.\n481. Palazzo di S. Giacomo sudetto\n482. Yicolo del Yantaggio\n483. Palazzo Bondinini\n484 Chiesa di S. M. de' Miracoli de\nPP. del 3 ordine Biformati di S. Fran-\ncesco Francesi\n485. Yicolo dell'Inferno\n486. Piazza de' Miracoli\n487. Yicolo de' Miracoli\n488. Piazza dell' Oca\n489. Yicolo della Penna\n490. Yicolo delle Scalette\n491. Palazzo Cardelli gia Capponi\n492. Cbiesa di S. M. della providdenza, e\nconserv. di zitelle a Bipetta\n493. Dogana di Bipetta\n494. Strada e Porto di Bipetta\n495. Cbiesa di S. Gregorio dell'Universit&\nde' Muratori\n496. Oratorio di d°. Santo della da. Dni-\nversita\n497. Strada Leccosa\n498. Palazzo de' Aste de' Genova\n499. Collegio Clemeutino\n500. Torre del detto Collegio\n501. Piazza Nicosia\n502. Palazzo Negroni\n503. Palazzo Celesi ora Negroni\n504. C. P. di S. Ivo de' Britanni\n505. Yicolo della Campana\n506. Chiesa di S. Antonio di Padova de'\nPortoghesi con conv. di Preti © Spe.\n507. Vicolo del Leoncino\n508. C, P. © Colleg. di S. Lucia della Tinta\n509. Strada di Mont© Brianzo\no RIO N E V . - PONTE o\n510. Palazzo de* Romanis\n511. Palazzo Carafa Prelatura\n512. Palazzo della confr. del Confalone\ncon Torre\n513. Yicolo della Palombella\n514. Strada de' Gigli d' Oro\n515. Cliiesa di S. Apollinare e Collegio\nGermanico Ungarico\n516. Arco detto di S. Agostino\n517. Piazza Palomba\n518. Torre Sanguigna in Casa Conti\n519. Palazzo Altemps con cap. Insigne di\nS. Aniceto Papa e Martire\n520. Yicolo de' Soldati\n521. Palazzo Gottifredi\n522. C. P. di S. M. in Posterula e Mo-\nnastero di Celestini\n523. Arco detto di Parma\n524. Strada dell'Orso\n525. C. P. di Simon© Profeta\n526. Palazzo Cesi\n527. Strada della Maschera d'Oro\n528. Strada Gaetana\n529. Palazzo Sacripanti\n530. Piazza Fiammetta\n531. Palazzo Sampieri\n532. Cbiesa di S. Trifone\n533. Palazzo Lancellotti\n534. Yicolo de' Matriciani\n535. Chiesa di S. Salvatorein Lauro della\nNazione Picena, e 2 collegi annessi\n536. TEA TP O DI TOR DI NO NA.\n537. Yicolo di Yeccbiarelli\n538. Yicolo della Palma\n539. Confortaria pei condannati a morte\n540. Palazzo Altoviti\n541. Yestigie del Ponte Trionfale\n542. Yicolo dell'Agnello\n543. Yicolo del Grancio\n544. Strada di S. Gio. de' Fiorentini\n545. Yicolo delle Telline\n546. Palazzo Lavaiani\n547. Palazzo Niecolini\n548. Piazza del Agnello\n549. C. P. di Gio. de' Fiorentini con Spe-\ndali pei Nazionali\n550. Oratorio di S. Orsola detto il coti-\nsolato.\n551. Yicolo dell'Oro\n552. Palazzo de Rossi\n553. Cbiesa di S. M. della Purificazione\nde' Transalpini\n554. Yicolo de' Cimatori\n555. Collegio di Bandinelle\n556. Yicolo delle Palle\n557. Palazzo Saccbetti\n558. C. P. di S. Biagio della Pagnotta\n559. Cbiesa de SS. Faustino e Giovita\ndetta ancora di S. Anna de Bresciani\n560. Chiesa e Confr. di S. M. del Suffragio\n561. Oratorio annesso a detta Cbiesa\n562. Oratorio e Confr. del Confalone con\nChiesa sotterranea di S. Lucia\n563. Yicolo della Scimia\n564. Strada Giulia\n565. Cbiesa di S. Elisabetta della TJni-\nversitk de' Mendicanti Invalidi\n566. Strada di Bancbi vecchi.\n567. Palazzo del Nero\n568. Piazza di Sforza\n569. Palazzo Sforza e Cesarini\n570. Palazzo Spada\n571. Vicolo del Pavone\n572. Banco di S. Spirito\n573. Strada de' Bancbi, con 2 fontane\n574. Palazzo Cicciaporci\n575. C. P. e collegio de' SS. Gelso e Giu-\n1 ano\n576. Oratorio e Confr. del Sagr in detta\nChiesa\n577. Strada di Panico"}, {"page_pdf": 33, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 7438, "texte": "578. Chiesa e Confr. di S. Giuliano\n579. Palazzo Cappoui di Firenze\n580. Palazzo Camerata\n581. Piazza di Monte Giordano con Fontana\n582. Palazzo Gabrielli\n583. Vicolo della Gatta\n584. Casa di Rafaelle d'Urbino.\n585. Strada de Coronari\n586. C. P. de' SS. Simone, e Giuda\n587. Palazzo Tanara\n588. Strada della PaJlaccorda al Fico\n589. Piazza del Avila\n590. Vicolo del Coralio\n591. Piazza del Fico\n592. Chiesa di S Biagio della Fossa del-\n1'university degli Osti\n593. Palazzo Sala\n594. Palazzo del Drago\n595. Palazzo del Antico Monte di Piety\n596. Palazzo Bonaventura\n597. Piazza della Pace\n598. Palazzo di S. M. dell'Anima\n599. C. P. di S. M. della Pace T. C. e\nMonastero de' Canonici Lateranensi\n600. Chiesa di S. M. dell'Anima della\nNazione Teutonica con couvitto de'\nPreti ed Ospizio\n601. Yicolo della Yolpe\n602. Yicolo del Sole\no it I ONE VI. - PARIONE o\n603. Chiesa di S. Nicolb de* Lorenesi\n604. Palazzo Ornani\n605. Piazza Navona con 3 Fontane e Obe-\nlisco del circo di Caracalla\n606. Chiesa di S. Giacoino de* Spagnuoli\ncon convitto de* Preti e Spedale de*\nCastiglioni\n607. Palazzo Panfili\n608. Chiesa di S. Agnese e Palaz. Panfili\n609. Palazzo Maculani\n610. Torre Millina\n611. TEATRO DELLA PACE\n612. Strada della Pace\n613. Collegio Nardini\n614. Palazzo della comp. di Sancta Sanc-\ntorum Residenza del Governatore\ndi Roma\n615. C. P. di S. Tomaso in Parione T. C.\n616. Palazzo Galli e Colloretti\n617. Vicolo de' Granari\n618. TEATR'O DE' GRANARI\n619. Chiesa e Conf. della Nativity di N.\nS. G. C. detta degli Agonizanti\n620. Piazza di Pasquino\n621. Palazzo Caraccioli P. di Santobuono\n622. Vicolo della Cuccagna\n623. Palazzo Lancellotti\n624. Chiesa di S. Pantaleone, e casa de'\nPP. delle scuole pei scuole pubbliche\n625. Palazzi Massimi\n626. Palazzo della Compag. de' SS. XII\nApostoli\n627. Palazzo Trulli\n628. Strada del Paradiso\n629. Palazzo Manfroni\n630. Piazza del Paradiso\n631. Chiesa di S. Elisabetta del univer-\nsity dei Garzoni Tedesclii de Fornare\ncon Spedale\n632. Strada de' Chiavari\n633. Piazza de' Satiri\n634. Chiesa di S. Barbara dell'Univ. de'\nLibrari\n635. C. P di S. M. di Grotta Pinta\n636. Palazzo Pio coil ruine del Teatro di\nPompeo\n637. Piazza del Biscione\n638. Piazza di Campo di Fiore con Fontana\n639. Piazza Pollaroli\n640. Strada de' Baullari\n641. Yicolo dell'Acquila\n642. Palazzo Galli\n643. Palazzo Bonardi\n644. Yicolo do Leutari\n645. Chiesa colleg. insigne, e P. di S. Lo-\nrenzo in Damaso\n646. Orat. e Confr. del Sagr. in d. Chiesa\n647. Cancelleria Apostolica\n648. Piazza, e Vicolo de' Cimatori\n649. Strada del Pellegrino\n650. Vicolo di Savelli\n651. Palazzo Buoncompagni con Torre\n652. Piazza di Sovra\n653. Strada di Panone\n654. Vicolo del Governo\n655. Palazzo Gaucei\n656. Chiesa di S. M. in Vallicella, e Casa\nde' P. P. della Congregazione del-\n1'Oratorio\n657. Orat. dell'Assunta e S. Cecilia de'\ndetti Padri\n658. Yicolo dei Cartari\n659. Yicolo di Calabraga\n660. C. P. di S. Stefano in Piscinnla\nRIONE VII, - REGOLA\n661. Chiesa di S. Luc. della Confrat. del\nConfalone con convit. di Preti Se-\ncolari\n662. Carceri Nuove\n663. Piazza Padella\n604. C. P. di S. Nicolb degli Incoronati\n665. Palazzo Mancini\n666. Chiesa di S. Filippo Neri\n667. Oratorio e Congr. delle Piaghe di\nGesii Cristo\n668. Piazza della Chiavica di S. Lucia\n669. Yicolo della Moretta\n670. Palazzo Bossi\n671. Palazzo Incoronati\n672. Palazzo de' Aste\n673. Palazzo Orsini\n674. Palazzo Rocci ora Spada\n675. Piazza di Ricci\n676. Yicolo dello Struzzo\n677. Collegio Ghislieri\n678. Chiesa dello Spirito S. de' Napolitani\n679. Orat. e Confr. de' medesimi\n680. Palazzo Ricci\n681. C. P. di S. Gio. in Ayno\n682. Strada di Monserrato\n683. Palazzo Pannini\n684. Palazzo Capponi di Firenze ,\n685. Yicolo de' Cappellari\n686. Palazzo Ghigi Montorio\n687. Vicolo di Montorio\n688. Chiesa di S M. di Monserrato degli\nAragonesi con Sped.\n689. Yicolo della Lunetta\n690. Chiesa di S. Eligio degli Orefici\n691. Strada dell'Armata\n692. Palazzo degli Atti\n693. Palazzo Falconieri\n694. Palazzo Falconiere\n695. Chiesa di S. Caterina de' Sanesi\n696. Palazzo Baldocci\n697. Chiesa di S. Tomaso Cantuariense\ne Collegio degl'Inglesi\n698. Palazzo del collegio Inglese\n699. Chiesa e Casa di S. Brigida dell'or-\ndine del Siho Salvatore\n700. Palazzo Fioravante\n701. Chiesa di S. Girolamo della Comp.\ndella Carity, e Casa per i Preti del-\nl'Oratorio\n702. C. P. di S. Caterina della Rota\n703. Chiesa e Confr. di S. M. dell' Ora-\nzione detta della Morte.\n704. Fontana detta il Mascherone di Far-\nnese\n705. Palazzo Farnese con Arco sopra\nStrada Giulia\n706. Piazza Farnese con due Fontane\n707. Yicolo del Gallo\n708. Palazzo Pighini\n709. Palazzo Mandosi\n710. Chiesa di S. M. della Quercia del-\n1'University de' Macellari\n711. Yicolo de' Yenti\n712. Palazzo di Cavalieri dell' Ordine Teu-\ntonico\n713. Chiesa de' SS. Gio. Apost. e Petro-\nnio de' Bolognese\n714. Strada della Catena\n715. Palazzo Spada\n716. Palazzo Spada gia Campo di Ferro\n717. Strada e Vicolo di Capo di Ferro\n718. Piazza di Spada\n719. Yicolo de' Batestrari\n720. Vicolo delle Grotte\n721. Strada di Giupponari\n722. Chiesa di SS. Teresa, e Gio. della\nCroce, e Ospiz. de Carmelitani Scaizi\n723. Chiesa di S. Marti no gia della Confr.\ndella Dottrina Cristiana\n724. Piazza di Monte di Pieta\n725. Cap. di S. M., e Sacro Monte di Piety\n726. Chiesa della Trinity, e Ospizio de*\nPellegrini, e Convalescenti\n727. Oratorio e confr. di detta Chiesa\n728. Strada de' Pettinari\n729. Palazzo Cacoia\n730. C. P. di S.Salvatore in Onda e Ospiz.\nde' Min. Conventuali\n731. Chiesa diS. Franc, d' Assisi, e Colleg.\nEcclesiastico, e Sped, pei Sacerdoti\n732. Ponte Gianicolo ora Ponte Sisto\n733. Conserv. de' SS. Clemente, e Cre-\nsceutino per Zitelie dettele Zoocolette\n734. Chiesa di S. Paolo Apost., e Conv.\nde' P.P. del 3 ordine di S. Francesco\nSiciliani\n735. Oratorio di S. Giacomo Apost. de'\nCappellari\n736. Piazza degli Specchi\n737. C. P. de' S. M. in Monticelli e Casa\nde' PP. della Dottrina Cristiana Avi-\ngnonesi\n738. C. P. di S. Salvat. in Campo\n739. Palazzo Alibrandi\n740. Palazzo Santa Croce\n741. Palazzo S. Croce per la Famiglia\n742. Piazza di Branca\n743. Palazzo di Signoribus\n744. Yicolo de' Sediari\n745. Strada della Regola\n746. Chiesa P. de. S.S. Vincenzo e Ana-\nstasio della Comp. di Cuochi\n747. Yicolo del Merangolo\n748. Chiesa di S. Bartolomeo de' Vaccinari\n749. Piazza de' Cenci\n750. Palazzi Cenci con due Archi\n751. C, P. di S. Tomaso a Cenci\n752. Yicolo de' Cenci\n753. Chiesa di Maria del Pi an to della\nConfr. della Dottr. Cristiana\n754. Oratorio della confr. suddetta\n755. Chiesa di S. Maria in Cacaberio de'\nCocchieri\n756. Avanzi d'un Antico Portico\nRIONE VIII. - S. EUTTACHIO\n757. C. P. di S. Maria in Publicolis\n758. Strada del Falegname\n759. C P. di S. Carlo, a Catinari e casa\ndi Bernabiti\n760. Palazzo Jacobelli\n761. Piazza del Monte della Farina\n762. Strada del Monte della Farina\n763. Chiesa di S. Anna, e Monastero de1\nBenedettine\n764. Chiesa di S. Elena de' Credenzieri\n765. Palazzo Cavalieri\n766. Palazzo Cavalierini\n767. Strada Argentina\n768. Chiesa de' SS. Cosimo, e Damiano de*\nBarbieri\n769. Oratorio de' medesimi Santi de' detti\nBarbieri\n770. Strada de' Cesarini\n771. TEATRO D'ARGENTINA\n772. Chiesa di S. Giuliano de' Fiammin-\nghi con Sped, pei Nazionali\n773. Torre Argentina nelle Case di Ce-\nsarini\n774. Chiesa dei Sudario de' Piernontesi\n775. Chiesa di S. Andrea della Valle, e\ncasa de' Teatini\n776. Vicolo deli'Abate Luigi\n777. Palazzo Coltrolini\n778. Palazzo Alberini\n779. Strada della Yalle\n780. Palazzo Couti"}, {"page_pdf": 34, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 7555, "texte": "781. Palazzo Pescatori\n782. Palazzi del Bufalo\n783. Piazza della Valle\n784. Cbiesa P. di S. M. in Monterone, e\nConvit. de' P.P. della Mercede Scalzi\nI tali an i\n785. Arco Moderno della Ciambella\n786. Cbiesa di S. Benedetto e Scolastica\nde' Xorcini\n787. Palazzi Sinibaldi\n788. Vicolo di Nari\n789. Palazzo Nari\n790. Strada della Palombella\n791. Piazza de' Caprettari\n792. Palazzo Cenci\n793. Palazzo Lanti\n794. Palazzo Capranica\n795. TEATRO DELLA VALLE\n796. Vicolo del Melone\n797. Strada de' Sediari, e Taccari\n798. Strada de' Canestrari, o della Catena\ndella Sapienza\n799. Universita e Scuole pubbliche dette\nla Sapienza\n800. Chiesa di S. Tvo nella Sapienza\n801. Piazza di S. Eustachio\n802. Chiesa Coll e paroc. di d Santo D. C.\n803. Vicolo dell'Albergo de' Marcbegiani\n804. Palazzo Carpegna\n805. Piazza Madama\n806. Palazzo Medici detto di Madama con\nruine delle Terme Alessandrine\n807. Chiesa di S. Salvatore in Thermis\n808. C. P. di S. Luigi de Francesi\n809. Convit. di Preti, e Sped, dei Nazi.\n810. Vicolo de' Matriciani\n811. Piazza Lombarda\n812. Strada delle Cinque Lune\n813. Strada del Pinaco\n814. Palazzo del Collegio Germanico Un-\ngarico\n815. Collegio Germanico Ungarico\n816. C. P. di S. Agostino T. C. e Conv.\ndegli Agostiniani\n817. Fontanella, e strada della Scrofa\n818. Palazzo Casali\n819. Vicolo de' Spagnuoli\n820. Vicolo della Vaccarella\n821. Palazzo della Compagnia di Saneta\nSanctorum\n822. Palazzo Palma con Torre\n823. Palazzo Nari\n824. Palazzo Rita\n825. C. P. di S. Salvatore delle Cappelle\n826. Palazzo Accoramboni\n827. Piazza del Pozzo delle Cornaccbie\n828. Palazzo di S. Giacomo de Spagnuoli\n829. Palazzo Patrizi\n830. Piazza Rondinina\n831. Palazzo Borghese\n832. Palazzo Giustiniani\n833. Avanzi di un antico Portico\n834. Piazza della Rotonda con fontana e\nGuvlia\n835. Palazzo Crescenzi\n836. Palazzo Melchiorri\no RIONE IX. - PIGNA o\n837. Cbiesa Colleg. e paroc. di S. Maria\nad Marty res detta la Rotonda D. C.\ngia Pantheon\n838. Orat. e Confr. del Sagr, in d. Chiesa\n839. Palazzino Corsini Palombara\n840. Accademia Ecclesiastica\n841 Cap. di S. Caterina da Siena dentro\nla Casa della Comp. della Nunziata\n842. Piazza della Minerva con' Elefante,\ne Guglia\n843. Palazzo de' Domenicani della Mi-\nnerva\n844. C. P. di S. Maria Sopra Minervg T.\nC., e conv. de' Domenicani\n845. Strada di Pie di Marmo\n846. Piazza del Collegio Romano\n847. Cbiesa di S. Tgnazio Collegio de' Ge-\nsniti, e Scuole pubbliche dette il\nCollegio Romano\n848. Orat. di S. Maria della Piet& detto\ndel P. Caravita con Arco\n849. Palazzo de' Carolis\n850. Fontana del Facchino\n851. Cbiesa colleg. e P. di S. Maria in\nVia Lata Diaconia Cardinalizia\n852. Palazzo Panfili con R. A.\n853. Palazzo Panfili\n854 Palazzo Panfili\n855. Palazzo Verospi\n856. Palazzo d'Aste\n857. Palazzo Gottiftedi\n858. Vicolo della Gatta\n859. Chiesa di S. Marta, e Monast. di\nA gostiniane\n860. C. P. di S. Stefano del Cacco, eMo-\nnastero di Silvestrini\n861. Palazzo Altieri\n862. Palazzo Inganni\n863. Palazzo Colonna\n864. Scuole delle Mastre Pie\n865. Palazzo Amadei\n866. Cbiesa e Confr. delle Stimate di S.\nFrancesco\n867. Palazzi Marescotti\n868. Palazzo Cesi\n869. Chiesa di S. Gio. della Pigna\n870. Palazzo Nunez\n871. Palazzo Foseca\n872. Vicolo de Cestari\n873. Cbiesa di S. Chiara e Monastero di\nMonache di detta Santa\n874* Ruine delle Terme di Marco Agrippa\n875. Strada detta l'Arco della Ciambella\n876. Palazzo della Prelatura Spinola\n877. Palazzo Muti Sacchetti\n878. Palazzo della Prelatura Bussi\n879. Palazzo Strczzi\n880. Falazzo Origo\n881. Piazza Strozzi\n882. Palazzo Cesarini\n883. C. P. di S. Nicolo a Cresarini, e casa\nde Somaschi unita con arco\n884. Colonne 4 Antiche nel Coitile de'\ndette Somaschi\n885. Palazzo Colonna di Sonnino\n886. Torre nelPAbitazione Persiani\n887. Piazza, e Chiavica dell'Olmo\n888. Strada Florida\n889. Vicolo de' Cesarini\n890. Ospizio de' Preti Pellegrini\n891. Nuova Casa. e Scuole pie de' P. P.\ndelle Scuole pie\n892. Arco de' Ginnasi\n893. C. P. di S. Lucia delle Botteghe\noscure e Monastero de' Teresiane\n894. Palazzo Ginnasi\n895. Collegio Ginnasi\n896 Via Celsa\n897. Palazzo Montemarte\n898. Palazzo della comp. del Salvat. ad\nSan eta Sanctorum\n899. Palazzo Viseardi\n900. Palazzo Petroni\n901. Palazzo Petroni\n902. Cbiesa del Gesh, e Casa Professa\nde' Gesniti\n903. Palazzo di Venezia\n904. Vicolo di Madonna Lucrezia\n905. Cap. della B. V. presso S. Marco\n906. Piazza di Venezia con Fontana\n907. Cbiesa Colleg. e Paroc. di S. Marco\nT. C.\nRIONE X. - CAMPITELLI\n908. Orat., e Confr. di S. Gregorio Tau-\nmaturgo\n909. Palazzo Circi\n910. C. P. di S. Venanzo de' Camerinesi\n911. Palazzo Muti Bussi\n912. Palazzo Silvestri\n913. Palazzo Gamberuoci\n914. Cbiesa della B. Rita de' Casciani\n915. Vicolo della Pedacchia\n916. Palazzo dell'eredita di Pietro da\nCortona\n917. Cbiesa di S Maria d'Araeeli T. C.\ne conv. de' Min. Osservanti\n918. Palazzo del Mnseo Capitolino\n919. Palazzo detto dei Conservatori\n920. Resideuza del Senatore con Torre e\nCarceri an nesse\n921. Chiesa di S. Giuseppe de' Falegnami\nsopra la Carcere di S. Piet.ro\n921. Cbiesa della Carcere di S. Pietrodetta\nMaraertina e da molti Tulliana\n922. Orat. di S Giuseppe de' 1 alegnami\n923. Colonne del Tempio di Giove Tonante\n924. Portico del Tempio della Concordia\n925. Colonna Antica\n926. Dogana della Grascia con Torre\n927. Piazza di Carapo Vaccino con Fon-\ntana.\n928. Tre Anticlie Colonne Scanellate\n929. Cbiesa di S. M. Liberatrice\n930. R. dell'A. Palazzo de* Cesari\n931. Cbiesa di S. Bonaventura e conv\nde' Min. Osservanti del Ritiro\n932. Chiesa di S. Sabastiano alia pol-\nveriera\n933. Torre alia via della Polveriera\n934. Meta Sndante\n935. Arco di Costantino Magno\n936. Camp, di S. Maria della Pieta denfro\nl'ANTFITEATRO FLAYIO DETTO\nIL COLOSSEO\n937. Fenile prima sped, di S. Gio. La-\nterano\n938. Cbiesa di SS. Quattro Coronati T. C.\ne mouastero di Agostinianee conserv.\ndelle Or fane con Torre\n939. Cbiesa di S. Silvest.ro degli Scultori\ne Scarpelliiii annessa a d. Cbiesa\n940. Cbiesa di S. Maria Imperatriee\n941. Chiesa di S. Tomaso in Formis\n942. Chiesa di S. M. in Domenica T. C.\ne Monast. di Melchiti di S. Basilio\n943. Piazza della Navicella con Navi\nVotiva\n944. Obelisco nella Villa Mattei\n945. Cap. del Crocefisso nella Piazza\ndella Ferratella\n946. Cbiesa di S. Gio. a Porta Latina T.\nC. e Conv. de' Minimi della Pro-\nvincia Romana\n947. Cap. di S. Gio. in Oleo\n948. Arco di Neron Claudio Druso\n949. Chiesa di S. Sisto T. C. e conv. di\nDomenicani Irlandesi\n950. Cap. di S. Domenico Annessa\n951. Strada di S. Sisto Vecchio\n952. Vicolo delle Mole\n, 953. Luogo del Settizonio di Severo Imp.\n954. Chiesa di S. Gregorio Magno sul\nMonte Celio, e Monast. di Carnal-\ndolesi\n955. Cap. di S. Silvia in S. Gregorio\n956. Cap. di S. Andrea Apost. in S. Gre-\ngorio\n957. Cap. di S. Barbara in S Gregorio\n958. Chiesa di SS. Gio. e Paolo T. C. e\nNoviziato de' Missionari\n959. Ruina della Curia Ostilia\n960. Cap. di S. Maria de' Cerclii\n961. Cbiesa Colleg. di S. Anastasia T. C.\n962. Cbiesa di S. Teodoro creduta gi&\nTempio di Romolo\n963. Orat. e Confr. del Cuore di Gesu\n964. Strada delle Grazie\n► 965. Vicolo de' Fecili\n966. Cbiesa di S. M. della Consolazione\n967. Sped pergli Uomini feriti\n; 968. Cbiesa di S. Maria delle Grazie\n969. Spedale per le donne\n' 970. Strada di Monte Tarpeo\n. 971. Salita di Monte Caprino\n972.. Vicolo de' Saponari\n973. Vicolo della Bufbla e Muri Anicbi\n974. Piazza Montanara\n975. Chiesa di S. Maria in Vinci di Sa-\nponari\n976. Piazza della Catena, e Strada de'\nSngarari\n977. Oratorio di S. Andrea in Vinci degli\nScultori, e Scarpellini\n978. Rocca Tarpea\n979. Palazzo Oatfarelli\n980. Strada e Torre de' Specchi"}, {"page_pdf": 35, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 7782, "texte": "981. Chiesa e Confr. di S. Orsola e Ca-\nterina\n982. Ospizio de' Cistercien. delle Tre\nFontane\n983. Ospizio de' Geronimini di S. Alessio\n984. Palazzo Massimi\n985. Palazzo Ruspoli\n986. Chiesa di S. Francesca Rom. e Mo-\nnastero di Oblate dette di Tor de1\nSpecehi\n987. Palazzo Capizucchi\n988. Palazzo Artieri con Arco\n989. C. P. di S. M. in Portico da di Cam -\npitelli D. O. e Casa de Chierici Rego-\nlari della Madre di Dio\n990. Palazzo Cavalletti\n991. Piazza Capizucchi\n992. Palazzo Cardelli\n993. Palazzo Maccarani\n994. Piazza Margana\n995. Palazzo Astalli\nR I O N E XT. - S. ANG E L O\n996. Palazzo della Congr. de1 Nobili al\nGesu con Torre\n997. Palazzo Mattei di Paganica\n998. Strada delle Botteghe oscure\n999. Chiesa del Salvat. e S. Stanislao, e\nOspiz de* Polacchi\n1000. Vicolo de1 Polacchi\n1001. Palazzo Altieri\n1002. Palazzo Patrizi\n1003. Chiesa di S Caterina de Funari e\nMonastero di Agostinne, e conserv.\ndi Zitelle\n1004. Palazzo Mattei di Giove\n1005. Palazzo Negroni\n1006. Palazzo Mattei di Paganica\n1007. Piazza Paganica\n1008. Palazzo Moroni\n1009. Chiesa di S. Sebastiano de'Mercanti\n1010. Palazzo della comp. della Nunziata\nora depositaria Urbana\n1011. Palazzo Boccapaduli\n1012. Piazza Costaguti\n1013. Palazzo Santa Croce con Torre\n1014. Collegio delPTJmbria\n1015. Palazzo Costaguti\n1016. Piazza Mattei con fontana\n1017. Chiesa di S. Ambrogio della Mas-\nsima, e monasterio di Benedettine\n1018. Piazza Serlupi\n1019. Palazzo Serlupi\n1020. Chiesa Colleg., e Paroc. di S. An-\ngelo in Pascaria D. C.\n1021. Orat. di S. Andrea de* Pescivendoli\n1022. Palazzo Orsini gia TEATRO DI\nMAR CELLO\n1023. Piazza di Pescaria e Colonne An-\ntichi\n1024. Strada di Pescaria\n1025. Piazza Giudea fuori del Ghetto con\nfontana Ghetto degli Ebrei\n1026. Piazza Giudea dentro del Ghetto\n1027. Strada della Rua\n1028. Piazza de' Marcelli\n1029. Piazza delle Scuole con Fontana\n1030. Cinque Scuole degli Ebrei cioe Ca-\ntalana Siciliana, Castigliana Scuola\nnuova, e Scuola del Tempio\n1031 Strada della Finmara\n1032. Vicolo della Torre\n1033. Piazza delle 3 cannelle con font,la\n1034. Yicolo de' Savelli con fontana\n1035. Strada Quattrocapi\no RIO N E XII. - R I P A o\n1036. Chiesa di S. Gregorio a Ponte 4\nCapi e congr. della divina Piety\n1037. Palazzo dell'Emo Lercari\n1038. C. Colleg. e P. di S. Niccolo in\nCarcere D. C.\n1039. Orat , e Confr. del Sagramento in\n1040. Cliiesa di S. Galla, e Ospiz. per gli\nDomini\n1041. Ospiz. di S. Luigi Gonzaga per le\nDonne\n1042. Strada e Arco di Porta Leone\n1043. Piazza e Yicolo della Fontanella\n1044. Strada delle Carrozze'\n1045. Yicolo di Buccimazza\n1046. Chiesa di S. Omobono de' Sartori\n1047. Chiesa di S. Eligio de' Ferrari\n1048. Orat. di S. Eligio de' medesimi\n1049. Chiesa di S. Gio. Decollato della\nConfr. della Misericordia\n1050. Orat. di S. Gio. della medesima\n1051. Sepoltura de' Giustiziati\n1052. Sepoltura di S. Aniano de' Pia-\nnellari e Lavorati Calzolari\n1053. Arco detto di Giano\n1054. Arco eretto da Negozianti a Set-\ntimio Severo\n1055. Chiesa di S. Giorg'o in Velabro D.\nC. e Ospiz. di Agostiniani di Genova\n1056. Acqua Juturna\n1057. Luogo ove si seppelliscono i Giudei\n1058. Luogo del Circo Massimo\n1059. Chiesa di S. Prisca T. C. e Ospiz.\ndi Agostiniani Lombardi con R. A.\n1060. Chiesa di S. Balbina T. C e casa\ndi Pii Operari con Torre\n1061. Chiesa di SS. Nereo, e Achilleo T. C.\n1062. Chiesa di S. Cesareo T. C.\n1063. Acqnedotto di Claudio\n1064. Terme Antoniane\n1065. Conserve dell'Acqua di d. Terme\n3066. Chiesa di S. Saba\n1067. Cap. di S. Maria dell'Arco in un\nTorrione\n1068. Sepolcro di Caio Cestio\n1069. Luogo ove si seppelliscono i Pro-\ntestanti\n1070. Ruine dell'Emporio\n1071. Yicolo della Serpe\n1072. Strada della Marmorata con Arco\n1073. Cap. di S. Lazaro a Marmorata\n1074. Bastione di Paolo III\n1075. Chiesa di S. M. del Priorato\n1076. Chiesa di S. Alessio T. C. e Monast.\ndi Geronimini Lombardi\n1077. Chiesa di S. Sabina T. C. e con-\nvento de' Domenicani\n1078. Cap di S. M. Maggiore in Aventino\n1019. Ruine delle Terme di Traian Decio\nImp.\n1080. Strada della Salara con Arco\n1081. Antiche Saline\n1082. Antiche ruine\n1083. Yestigie del Ponte Snblicio\n1084. Chiesa di S Anna in an excellent speech, closed the big Empire\nExhibition after what has been undoubtedly a great success.\nFinancial success is not the only success, and of course\nthe Exhibition has cost much more money than it took\nin. But the Nation, and its exhibitons at Wembley, will\nobviously win back far more than they will be able to\ncalculate. I hey will make money, and wonder why, and\nperhaps not attribute it to this big show. But it is the\nshow which will have done it all the same.\nAnd what of the rain ? The picture of thousands\nof soaking Londoners with umbrellas is possibly an endu-\nring sight.... would it be any less so had provision been\nmade to keep them dry?\nWe suggest that architects be allowed to control the\nbuilding of future exhibitions ; being practical people, ar-\nchitects know all about how to protect crowds of people\nfrom great rains and great heat. They employ the arch,\nthe arcade, and many devices to do this. A good architect\nalso makes a fine looking piece of work, and the Empire\nExhibition was not a fine looking piece of work.\nWe also suggest that our next Pageant be somehow\nmade rather more original, five or six times less vast, and\ncost a third of the sum.\nIt has surprised many people to learn that the Pa-\ngeant cost a sum of money sufficient to have given England\na couple of Theatres in which to house its Drama, which\nDrama they say is in a poor plight. If it be so, one of\nthe reasons would seem to be, that there is too much\nmoney in England, not too little. Yet how often do people\nwho, one would think, should know better, privately or\npublicly inform all of us who would like to see good\nthings well supported that there is no money.\nWhat a horrid fib!"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c057", "article_bluemountain": "bmtnaau_1925-10_01#c057", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 52, "image_fin": 52, "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=bmtnaau192510-01.2.13.2", "titre_corps": "LONDON. WET WEMBLEY", "titre_sommaire": "LONDON. WET WEMBLEY", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.52", "debut_caractere": 2578, "fin_caractere_exclue": 4366, "texte": "LONDON. WET WEMBLEY.\nJ. B.\n|N November, in one final downpour of rain, the Prince\ni of Wales, >in an excellent speech, closed the big Empire\nExhibition after what has been undoubtedly a great success.\nFinancial success is not the only success, and of course\nthe Exhibition has cost much more money than it took\nin. But the Nation, and its exhibitons at Wembley, will\nobviously win back far more than they will be able to\ncalculate. I hey will make money, and wonder why, and\nperhaps not attribute it to this big show. But it is the\nshow which will have done it all the same.\nAnd what of the rain ? The picture of thousands\nof soaking Londoners with umbrellas is possibly an endu-\nring sight.... would it be any less so had provision been\nmade to keep them dry?\nWe suggest that architects be allowed to control the\nbuilding of future exhibitions ; being practical people, ar-\nchitects know all about how to protect crowds of people\nfrom great rains and great heat. They employ the arch,\nthe arcade, and many devices to do this. A good architect\nalso makes a fine looking piece of work, and the Empire\nExhibition was not a fine looking piece of work.\nWe also suggest that our next Pageant be somehow\nmade rather more original, five or six times less vast, and\ncost a third of the sum.\nIt has surprised many people to learn that the Pa-\ngeant cost a sum of money sufficient to have given England\na couple of Theatres in which to house its Drama, which\nDrama they say is in a poor plight. If it be so, one of\nthe reasons would seem to be, that there is too much\nmoney in England, not too little. Yet how often do people\nwho, one would think, should know better, privately or\npublicly inform all of us who would like to see good\nthings well supported that there is no money.\nWhat a horrid fib!"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c058", "article_bluemountain": "bmtnaau_1925-10_01#c058", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "49", "image_debut": 53, "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=bmtnaau192510-01.2.14", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 6341, "texte": "BOOK REVIEWS.\n\n/ PROFETI DI BABILONIA by\nG. F. Malipiero. Bottega di Poesia,\nMilano. Price 15 lire.\nTHIS Milanese Publishing Company\nproduces a quantity of books, some\nprinted very badly, and some excel-\nlently. It uses a poor sandy sort of\npaper without sufficient reason : for if\nthere is no perfect paper in Italy, young\nItalians could soon make some.\nIt is all nonsense nowadays\nto say there is no this, no that, with\nan awakened Italy easily able to make\neverything and make it perfectly.\nAnyhow, Signor Malipiero makes\nall he makes perfectly ; and this de-\nlightful book of scenes, letters, and\nextracts collected from 18th century\nwritings by Chiari, Carlo and Gaspare\nGozzi, Calsabigi, Affo, Algarotti, Ar-\nteaga, Metastasio, Milizia, and many\nothers, with an excellent preface and\nnotes by Malipiero himself, is as good\nas it could be.\nThe subject is the Theatre : they\nall speak of the Theatre of their time;\nand, as they are all serious men, the\ncollection is an important one, ....in\nsome ways the most important which\nexists.\nThe book consists of 438 pages of\nadmirable writing with one plate, is\nwell covered, distinguished in appearance,\nand costs only fifteen lire. It is, by\nthe way, dedicated to an Englishman.\nFourteen more books are announced\nia this series, 44 I Fascicoli Musicali \",\nof which this is the first.\nWe could do without a good half-\ndozen of them: for example, 44 Nerone\ndi Boifo \" by Guj ; 44 Opera and\nDrama \" by Wagner; 44 Falstaff di\nG. Verdi \" by della Corte ; 44 Beet-\nhoven \" by Rolland; and 44 Debussy\"\nby Perracchio. It is Italians, not Ger-\nmans and Frenchmen, we want to\nknow better.\nAs for Boito and Verdi, I some-\ntimes fee! that too much time has\nalready been devoted to these remar-\nkably famous composers.\nMore time given to telling us about\nthe lesser known composers and libret-\ntists and their assistants is what we\nlook for now. More about Pepoli,\nAlbergatti and Contarini, and their\nhouses and teatrini : more of Bibiena\nand his family, of the Galliari family,\nof the Mauri (or Mauro) family : of\nF. C. Motta, of Petronio Nanni, and\nRivani; of the singers and dancers\nwho are out-shaddowed today by the\neternal 4 4 return visit \" of Farinello\nand Cafarello.\nWhat of Sancta Stella, and Pi-\nstocci, what of architects like Sighizzi?\nHow is it that seemingly no book or\nbooklet exists telling us all about his\nservice to the Theatre ?\nI believe all these figures wait for\nSignor Malipiero to give them place\nand prominence, in a new book, for\nhe has a way of dealing with these\nfine things and people which does ho-\nnour to them.\n\nWOMAN IN WORLD HISTORY.\nHER PLACE IN THE GREAT\nRELIGIONS, by E. M. White.\nHerbert Jenkins. 8/6 net.\nWE dont quite like the title of the\nbook : ....however. Do we like\nthe book ? In it the author is stated\nto have 44 ransacked the ages and roam-\n\" ed the world to trace woman's\n44 influence in the story of civilization,\n44 with special* reference to the great\n44 religions, and to their effect on the\n44 position of womanhood. As the\n44 term religion has been taken in its\n44 broadest sense, it has included all\n44 the social and artistic spheres which\n44 each religion has touched, and thejre-\n44 fore the book covers nearly all the\n44 field of woman's hisjtory. The aim\n44 has been appreciation before criticism,\n44 and the conclusions reached are\n44 neither anti-man nor anti-feminist\nCertainly, in her 395 pages, Miss\nWhite gives us a great deal that is\ninteresting in regard to the life of\nwomen, from primitive times, and down\nthrough ancient Egypt, Babylonia and\nAssyria, through Hinduism, Buddhism,\nMahammedanism and Judaism, through\nancient Greece and Rome, and down\nfrom the beginning of the Christian Era\nto the present time : and her work is\nthe more useful because it is non-pole-\nmical : she has neither the frenzied\ndesire to prove that woman is at all\npoints the equal of man 44 only better\na desire, even if one which is never\nrealized,lhat characterizes certain ....too\ncertain.... feminist writers : nor has she\nthe inborn contempt for women which\ndetracts from the value of the writings\nof certain virulent anti-feminists. Her\nonly aim is to trace down through the\nages certain influences which reacted\nupon, and emanated from, one half of\nthe human species ; and the ways in\nwhich, in different periods, they rose\nto or lapsed from the fullest accom-\nplishment of their especial functions and\nprivileges as individuals and in relation\nto man and to the human family at\nlarge. It is not an unambitious aim,\nand we would recommend this book\nto the study of those who have often\ndisputed the conviction, now and again\nexpressed by writers in \" The Mask *\\\nthat women are not exactly in their\nright place upon the stage : they may\nlearn here that it was not any sign of\nthe belittlement of women by men, or\nof degradation, or undue weakness on\ntheir own part, when they preferred\nto hold their lives aloof from publicity,\nand especially from what a Russian\nauthor has called \"an amorous display'*\nbefore a public, for that spoilt public's\nentertainment.\nIt is a vexed question, I must\nadmit ; whether it be better to suffer\nthe slings and arrows, or to take arms\nagainst a sea ... and end the troubles.\nAnd I for one rather like to see\none role always acted by a woman :\nI refer to the part of \" Hamlet,...\"\nwith of course a man in the role of\nthe \" player queen\n\nMASKS AND DEMONS. K. Mac\nGowan and H. Rosse. Martin Hop-\nkjnson : London : 15/— net.\nWE already referred to this book\nin July 1924 when it reached us\nfrom its American publishers, Messrs\nHarcourt, Brace & Co ; we are glad\nnow to see that a English edition has\nappeared, and would recommend all\ntheatre students to secure a copy for\nthe sake of the large number of excel-\nlent illustrations it contains of masks\nof many nations, and the entertaining\ntext,\n\nRESTORATION COMEDY by\nBonamy Dohree. The Clarendon\nPress. Oxford. 6/— net.\nTHE Publishers announce that\"This\n44 book gives a general view of\n4 4 Comedy in the period from Etherege\n44 to Farquhar, and places certain aspects\n44 of Restoration Comedy in a new\n44 light. It investigates more thoroughly\n44 than has yet been done the vexed\n44 question of French influence, and\n44 proves by ample quotation that Res-\n44 toration Comedy was, in the main,\n48 a natural development of late Eliza-\n44 bethan work. But the principal"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 6568, "texte": "41 content is a description and criticism\n44 of the work of the chief writers\n44 of the period, apart from any\n44 theory \".\nYes, and the whole thing is well\ndone; but where are the plays ?\nThis charming book of 182 pages\ngives us quite a number of passages\nfrom the plays, as though the author\nhad really felt as he went along that\nhe really couldn't continue to talk,\n(and talk so well) about them while\nwe, his hearers, were left utterly in the\ndark as to what he was talking about.\nSo he strikes a wax vesta now and\nagain and points to the pictures : 44 You\nsee what I mean \", he seems to say\nas he quotes a bit; at which out\ngoes the quotation, and we are again\nplunged in obscurity.\nThe fact is there are very few of\nus who know these plays well enough ;\nand I feel that Mr Dobree's ten chapters\nwould have been only in their right\nplace as prefaces to the plays of the\nsix authors on whom he discourses.\nWithout the plays the book is but\ndelightful meandering.\nOn page 138, for example, Mr Do-\nbree tells us that, 44 a thread of sadness\n44 and disillusion runs through these\n44 plays, and live passions break through\n44 the veil of cynicism wherewith the\n44 critical comedy clothes itself. We\n44 pierce through the social world to\n44 the realm of our underlying motives,\n44 to our ardours and desires, for beauty\n44 as well as for grosser satisfactions ;\n44 and Congreve reveals himself as a\n44 poet pleading for finer living \".\nWell, the thread of what you will\nmay run where it likes, but unless we\ncan be helped to follow it we are\nprone to grow a little sleepy.\nIt is of no use to say that we\nnierce through the social world \", and\nthat 44 Congreve reveals himself \", for,\nlacking the plays, no such blessed re-\nvelation can be ours.\nIn short, speech about a thing lacks\nall sanity without the hearers are first\ntold what it's all about and until they\ncan judge for themselves. A vague\nrecollection of Shakespeare is something\nto us when we come to read Coleridge\non his plays. And besides, we all\nhave a Shakespeare in the house. But\nwhen it comes to a play by Etherege\nand Shadwell, or even Congreve, unless\nthe play be in the same volume and\njoined to the discourse about it, we\nshall never be lured by the orator to\nread the play, to go out and hunt for\na copy, to buy the play or listen to the\norator; and it's quite likely we shall\ndamn the best orator and wonder why\nthe publisher didn't have enough faith\nso die Drama itself and had too much\nin the critic of it.\nIt is futile to hope that we shall\nbe sent by Mr Dobree to Eiherege,\nfor there is not time in 1925 for even\nthe average man to go trotting around ;\nand I for one will wager that very few\nof the exceptional men will have time\nto do so.\nBesides, there are too few and too\nexpensive Congreves and Ethereges in\nthe market. WANTED a shilling\nCongreve: ,.,.and for our part we\nwant that volume prefaced by Mr\nDobree.\nYes, there's something in it, isn't\nthere ?\n\nLIFE OF WILLIAM CONGREVE\nby Edmund Gosse C. B. Heinemann.\n7/6.\nMR Gosse is always gallant, and so\nhe was one of the earliest, if not\nthe very first, to write the Life of\nCongreve.\nHe might have written the life of\nEtheridge, but what would there have\nbeen gallant in such an act as that ?\nNo. Congreve the bore, that's the\nman to stand by, to prop up, force\nbefore the Public, stick to, and finally\ntriumph with.\nThat's the splendid English gallantry\nof it, and in Mr Gosse gallantry glows\nwith a steady flame.\nWhen I speak of Congreve as a\nbore, I only mean that he fails to be\nbrilliant like Etheridge or powerful like\nWycherley. He meanders, he has grace,\nhe is charming, .... he is, in fact, a\nperfect bore.\nWhat pains he is at to make no\nfaults, this perfect Congreve. But it\nis Mr Gosse and his book we have to\nconsider, and it seems to me as good\ntoday as it was when it first appeared\nsome years ago.\nWritten probably with great difficulty,\nit has about it all the signs of easy\nwriting.\nWhat is known of Congreve is ali\nthere, and what is known is really\nhardly worth recording.\nHow remarkable then that so great\nan impression has been made with this\nbook upon ali of us.\n\nTHE THEATRE: IDEAS AND\nIDEALS. J. W. H. Faulkner.\nA. Stockwell, London. 2/—.\nI wonder whether Mr Faulkner is\nquite correct in his statement that\n\" the first Theatre was built by the\nGreeks between three and four hundred\nyears before Christ M?\nI have an idea that theatres existed\nlong before that.\nAnd I wonder, is Mr Faulkner\ncorrect when he says that 44 An Exhi-\n44 bition of Paintings, a Concert, a\n44 Recital of Verses, a Display of Dan-\n44 cing.... none of these are entertain-\n44 ments \".\n1 wonder what he would call Po-\nlitics, as we receive them daily through\nthe newspaper. I, who am a theatre-\ngoer, rather resent seeing so much\ndrama made out of politics in our\nDaily Papers. It makes me quite bo-\nred when I go to hear a play.\nThe ideas and ideals set forth in\nthis little booklet of 32 pages are\nfreshly stated and familiar to us. The\nmore often they are repeated (provided\nanyone listens) the better for the London\nstage.\nUnfortunately in London hardly\nanyone has time to listen, except to\nhis own voice. What with having to\nget through a hard day's work, and\nhaving to sit through the wrong play\nat night, (for it's difficult to back a\nwinner each time), listening has to be\nput off until our August days at Mar-\ngate, when all we want to listen to\nthen is what are the tame waves saying.\nBut everyone belonging to the Bri-\ntish Drama League should assuredly\npurchase this two shillings's worth of\nIdeas and Ideals, and do their very\nbest to spread them through the length\nand breadth of the land.\nBut the first thing to do is to per-\nsuade people to listen,\n\nSMARAGDAS LOVER ; A Dra-\nmatic Phantasmagaria by W. /. Tur-\nner. Chatto & Windus. 5/-\nMR W. J, Turner has a very\nstrong, a very genuine sense of\nthe Theatre. It is needless to tell\nhim he avoids coming to the ordinary\nHecuba or to warn him not to be\ntempted away by unrealities, for it is\njust by wandering exactly where he\nwanders that he will come across the\nreal lady, There will then be no\ndoubt at all what Hecuba is to him\nand he to Hecuba. Shell be right\nthere, tragic or comic as he wills.\nMeantime, spite of this essential gift\nof his, he has not come across her\nthis time. But he is almost there.\nThis is not a little to be able to\nsay. For he hasn't been looking for\nher in any of the places she long\nago left.\nHis Phantasmagoria is a wierd and\nenchanting comedy which I think the\nEnglish actors of our day could make very\nlittle out of. When you have read it, if"}, {"page_pdf": 55, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 5641, "texte": "you have an eye to its exploitation on the\nmodern stage, you more than likely close\nthe volume with the word 44 unsatis-\nfactory \" but what else can a thing\nof this kind be ? is not a Phantasma-\ngoria 44 a crowd or succession of dim\nor doubtfully real figures \" ?\nIn any event it is good reading for\nit moves along and without effort, so\nlong as one remembers that nothing is\nquite real. Sometimes it exceeds even\nunreality, not only in the situations but\nin the very speeches, as, for example,\nwhen the Prime Minister in the play\nsays of Sir Leo Edward Meyer,\n44 Extraordinary people these Jews!\nAll the world s shadiest transactions\nare done in their houses but never\nby them \".\nAgain i come to the principal de-\nfect in all plays, and that is not any\nfault committed by the authors. This\ndefect is that we are fast asleep in\nEngland so far as our Theatre is con-\ncerned. Proof: This.... Were we awake\nwe would of course produce this drama\nwithin the month; and the same au-\nthor's 44 Popomac \" play would have\ncome (come and gone, or come and\nstayed) at least a year ago.\nBut no, we are asleep. And how\nwe dream, to be sure. We dream\nthat by selecting what we think to be\nexcellent plays made in the right way\nwe may get at last at the plays.\nGloriously comic, crazy, dream. We\nshall get at last at the plays if we\nproduce without any pausing or any\nsilly sort of superior hesitation, every\nplay which every writer of even fair\ntalent, has the courage to pen.\nWe shall produce them cheaply,\nrapidly and well. It is quite easy to\ndo it cheaply and well provided you're\nrapid about it.\nWe shall thus put upon the stage\nmany hundreds of new plays each year,\nthree or four of which will prove\ntheir worth, thirty, or forty their promise,\nand some hundreds will pass away.\nWe (sleeping) dream that we can\nbe cleverer than that. Utter delu-\nsion.\nIn any case I hope Mr Turner\nwill write and publish every play that\nhe has even the faintest desire to write\nand publish, even if the London stage\nis not yet awake: for we want to see\nall that he has in his imagination;\ntechnically we see what he might do\nshould he wish to; but if the Theatre\nwill go on dreaming he cannot exactly\nexercise that wish to any great extent.\nThe English stage is in the condi-\ntion it was in years ago, Men of ta-\nlent exist who should be given Thea-\ntres so as to wake it up. Till it wakes\nup the work of thousands of writers,\nactors, producers, will be wasted, and\nI do not believe England can afford\nto waste in this manner, I wont call it\nshameful; it is merely excessively stupid\n\nA GUIDE TO CAPER by Thomas\nBodkin and Denis Eden. (Chatto &\nWindus). 5 shillings.\nC.\nAT'OU follow the pictures, not the\ntext, of this Guide,... if you want\nto get there: but the text helps.\nIt's the best five shillings* worth I\nhave seen for many a day. Mr Eden\nis a new name to us, but there is no-\nthing at all of the beginner about his\nwork.\nThe second picture, the last picture,\nthe ninth, tenth and eleventh pictures\nall play with light. If the sun is down\nthe moon shines; or a fire, or the stars\ntwinkle, and it is this light which gives\nus so much happiness when we look\nat these inhabitants of Caper, living the\nmost sensible existence man could ever\nlive, even after thinking about it for\nyears.\nI am an entire admirer of this ar-\ntist. I have nothing to find fault\nwith,... the whole thing is perfect.\nAnd not the least perfect thing about\nit is Messrs Chatto & Windus's ins-\ntinct or judgement, in having recogni-\nzed in Mr Eden an artist of first class\nfancy. Just as courtesy is in every\ntouch, so is there courtesy in the way\nit has been brought out.\nCharm is a word which extends to\nhoydens, Mrs Jordan was charming\nThis book is more than that.... and\nthe way it has been issued by the\npublishers, its paper, its covers, wrap-\nper, title page and all, reveals an un-\nderstanding for which I can find no\nbetter word than courtesy. If ten\nthousand copies be not sold quite soon\nI shall be very much surprised.\n\nTHE SLEEPING BEAUTY by\nEdith Sitwell. Duckworth. 5/- net.\nA poem of 96 pages is an achieve-\nment. I suppose Miss Sitwell a\nlover of the more eleborate drawings\nby Aubrey Beardsley.\nNever having read anything of hers\nbefore this is my impression.\nFirst that there are seasons and\nseasons for poems. I feel that this\none came out in the wrong season.\nI am in a cold room as I read this\npoem, and I wonder why it does not\ngo easily. Not Miss Sitwell's fault, but\nmine to be so placed twixt the cold and\nthis deep sea.\nObviously Miss Sitwell is full of\ngifts, clever, a poet, ....a graceful one;\nand with an ability to go on.\nAs I read it I find myself unable\nto believe that the Sleeping Beauty is\na theme any poet could make anything\nmore out of than has Miss Sit well.\n\nJUDAS. A Tragedy in Three Acts\nby Claude Houghton. 7he Four Sees\nCo. Boston. 2.00.\nI do not think that everyone and\nanyone should be at liberty to take\nup a pen and write tragedies in three\nacts or in four.\nIf they do so, and fail to write\nwell, I see no reason why they should\never do it again.\nMr Houghton has done ill, and I\nhope his next will be free from all\nthat I find in this play.\n\nTHYREA AND OTHER SON-\nNETS by John Ferguson. Andrew\nMelrose, Ltd. 1/6 net.\nTHIS little book of Sonnets, reprin-\nted from the 44 English Review\n44 Irish Monthly \" and other papers,\nis in its second edition. 1he theme\nof a large number of the sonnets is\nderived from theatre life and experien-\nces. It has an introduction by Mr.\nW. L. Courtney who writes 44 Here is\na booklet of sonnets which I can warm-\nly commend to the judicious reader \".\nI transmit his message to the readers\nof 44 The Mask \"."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c060", "article_bluemountain": "bmtnaau_1925-10_01#c060", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "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=bmtnaau192510-01.2.14.2", "titre_corps": "/ PROFETI DI BABILONIA by", "titre_sommaire": "/ PROFETI DI BABILONIA by", "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": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.53", "debut_caractere": 15, "fin_caractere_exclue": 2581, "texte": "/ PROFETI DI BABILONIA by\nG. F. Malipiero. Bottega di Poesia,\nMilano. Price 15 lire.\nTHIS Milanese Publishing Company\nproduces a quantity of books, some\nprinted very badly, and some excel-\nlently. It uses a poor sandy sort of\npaper without sufficient reason : for if\nthere is no perfect paper in Italy, young\nItalians could soon make some.\nIt is all nonsense nowadays\nto say there is no this, no that, with\nan awakened Italy easily able to make\neverything and make it perfectly.\nAnyhow, Signor Malipiero makes\nall he makes perfectly ; and this de-\nlightful book of scenes, letters, and\nextracts collected from 18th century\nwritings by Chiari, Carlo and Gaspare\nGozzi, Calsabigi, Affo, Algarotti, Ar-\nteaga, Metastasio, Milizia, and many\nothers, with an excellent preface and\nnotes by Malipiero himself, is as good\nas it could be.\nThe subject is the Theatre : they\nall speak of the Theatre of their time;\nand, as they are all serious men, the\ncollection is an important one, ....in\nsome ways the most important which\nexists.\nThe book consists of 438 pages of\nadmirable writing with one plate, is\nwell covered, distinguished in appearance,\nand costs only fifteen lire. It is, by\nthe way, dedicated to an Englishman.\nFourteen more books are announced\nia this series, 44 I Fascicoli Musicali \",\nof which this is the first.\nWe could do without a good half-\ndozen of them: for example, 44 Nerone\ndi Boifo \" by Guj ; 44 Opera and\nDrama \" by Wagner; 44 Falstaff di\nG. Verdi \" by della Corte ; 44 Beet-\nhoven \" by Rolland; and 44 Debussy\"\nby Perracchio. It is Italians, not Ger-\nmans and Frenchmen, we want to\nknow better.\nAs for Boito and Verdi, I some-\ntimes fee! that too much time has\nalready been devoted to these remar-\nkably famous composers.\nMore time given to telling us about\nthe lesser known composers and libret-\ntists and their assistants is what we\nlook for now. More about Pepoli,\nAlbergatti and Contarini, and their\nhouses and teatrini : more of Bibiena\nand his family, of the Galliari family,\nof the Mauri (or Mauro) family : of\nF. C. Motta, of Petronio Nanni, and\nRivani; of the singers and dancers\nwho are out-shaddowed today by the\neternal 4 4 return visit \" of Farinello\nand Cafarello.\nWhat of Sancta Stella, and Pi-\nstocci, what of architects like Sighizzi?\nHow is it that seemingly no book or\nbooklet exists telling us all about his\nservice to the Theatre ?\nI believe all these figures wait for\nSignor Malipiero to give them place\nand prominence, in a new book, for\nhe has a way of dealing with these\nfine things and people which does ho-\nnour to them."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c061", "article_bluemountain": "bmtnaau_1925-10_01#c061", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "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=bmtnaau192510-01.2.14.3", "titre_corps": "WOMAN IN WORLD HISTORY", "titre_sommaire": "WOMAN IN WORLD HISTORY", "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": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.53", "debut_caractere": 2583, "fin_caractere_exclue": 5362, "texte": "WOMAN IN WORLD HISTORY.\nHER PLACE IN THE GREAT\nRELIGIONS, by E. M. White.\nHerbert Jenkins. 8/6 net.\nWE dont quite like the title of the\nbook : ....however. Do we like\nthe book ? In it the author is stated\nto have 44 ransacked the ages and roam-\n\" ed the world to trace woman's\n44 influence in the story of civilization,\n44 with special* reference to the great\n44 religions, and to their effect on the\n44 position of womanhood. As the\n44 term religion has been taken in its\n44 broadest sense, it has included all\n44 the social and artistic spheres which\n44 each religion has touched, and thejre-\n44 fore the book covers nearly all the\n44 field of woman's hisjtory. The aim\n44 has been appreciation before criticism,\n44 and the conclusions reached are\n44 neither anti-man nor anti-feminist\nCertainly, in her 395 pages, Miss\nWhite gives us a great deal that is\ninteresting in regard to the life of\nwomen, from primitive times, and down\nthrough ancient Egypt, Babylonia and\nAssyria, through Hinduism, Buddhism,\nMahammedanism and Judaism, through\nancient Greece and Rome, and down\nfrom the beginning of the Christian Era\nto the present time : and her work is\nthe more useful because it is non-pole-\nmical : she has neither the frenzied\ndesire to prove that woman is at all\npoints the equal of man 44 only better\na desire, even if one which is never\nrealized,lhat characterizes certain ....too\ncertain.... feminist writers : nor has she\nthe inborn contempt for women which\ndetracts from the value of the writings\nof certain virulent anti-feminists. Her\nonly aim is to trace down through the\nages certain influences which reacted\nupon, and emanated from, one half of\nthe human species ; and the ways in\nwhich, in different periods, they rose\nto or lapsed from the fullest accom-\nplishment of their especial functions and\nprivileges as individuals and in relation\nto man and to the human family at\nlarge. It is not an unambitious aim,\nand we would recommend this book\nto the study of those who have often\ndisputed the conviction, now and again\nexpressed by writers in \" The Mask *\\\nthat women are not exactly in their\nright place upon the stage : they may\nlearn here that it was not any sign of\nthe belittlement of women by men, or\nof degradation, or undue weakness on\ntheir own part, when they preferred\nto hold their lives aloof from publicity,\nand especially from what a Russian\nauthor has called \"an amorous display'*\nbefore a public, for that spoilt public's\nentertainment.\nIt is a vexed question, I must\nadmit ; whether it be better to suffer\nthe slings and arrows, or to take arms\nagainst a sea ... and end the troubles.\nAnd I for one rather like to see\none role always acted by a woman :\nI refer to the part of \" Hamlet,...\"\nwith of course a man in the role of\nthe \" player queen"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c062", "article_bluemountain": "bmtnaau_1925-10_01#c062", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "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=bmtnaau192510-01.2.14.4", "titre_corps": "MASKS AND DEMONS. K. Mac", "titre_sommaire": "MASKS AND DEMONS. K. Mac", "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": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.53", "debut_caractere": 5364, "fin_caractere_exclue": 5818, "texte": "MASKS AND DEMONS. K. Mac\nGowan and H. Rosse. Martin Hop-\nkjnson : London : 15/— net.\nWE already referred to this book\nin July 1924 when it reached us\nfrom its American publishers, Messrs\nHarcourt, Brace & Co ; we are glad\nnow to see that a English edition has\nappeared, and would recommend all\ntheatre students to secure a copy for\nthe sake of the large number of excel-\nlent illustrations it contains of masks\nof many nations, and the entertaining\ntext,"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c063", "article_bluemountain": "bmtnaau_1925-10_01#c063", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "48", "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=bmtnaau192510-01.2.14.5", "titre_corps": "RESTORATION COMEDY by", "titre_sommaire": "RESTORATION COMEDY by", "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": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.53", "debut_caractere": 5820, "fin_caractere_exclue": 6341, "texte": "RESTORATION COMEDY by\nBonamy Dohree. The Clarendon\nPress. Oxford. 6/— net.\nTHE Publishers announce that\"This\n44 book gives a general view of\n4 4 Comedy in the period from Etherege\n44 to Farquhar, and places certain aspects\n44 of Restoration Comedy in a new\n44 light. It investigates more thoroughly\n44 than has yet been done the vexed\n44 question of French influence, and\n44 proves by ample quotation that Res-\n44 toration Comedy was, in the main,\n48 a natural development of late Eliza-\n44 bethan work. But the principal"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 2935, "texte": "41 content is a description and criticism\n44 of the work of the chief writers\n44 of the period, apart from any\n44 theory \".\nYes, and the whole thing is well\ndone; but where are the plays ?\nThis charming book of 182 pages\ngives us quite a number of passages\nfrom the plays, as though the author\nhad really felt as he went along that\nhe really couldn't continue to talk,\n(and talk so well) about them while\nwe, his hearers, were left utterly in the\ndark as to what he was talking about.\nSo he strikes a wax vesta now and\nagain and points to the pictures : 44 You\nsee what I mean \", he seems to say\nas he quotes a bit; at which out\ngoes the quotation, and we are again\nplunged in obscurity.\nThe fact is there are very few of\nus who know these plays well enough ;\nand I feel that Mr Dobree's ten chapters\nwould have been only in their right\nplace as prefaces to the plays of the\nsix authors on whom he discourses.\nWithout the plays the book is but\ndelightful meandering.\nOn page 138, for example, Mr Do-\nbree tells us that, 44 a thread of sadness\n44 and disillusion runs through these\n44 plays, and live passions break through\n44 the veil of cynicism wherewith the\n44 critical comedy clothes itself. We\n44 pierce through the social world to\n44 the realm of our underlying motives,\n44 to our ardours and desires, for beauty\n44 as well as for grosser satisfactions ;\n44 and Congreve reveals himself as a\n44 poet pleading for finer living \".\nWell, the thread of what you will\nmay run where it likes, but unless we\ncan be helped to follow it we are\nprone to grow a little sleepy.\nIt is of no use to say that we\nnierce through the social world \", and\nthat 44 Congreve reveals himself \", for,\nlacking the plays, no such blessed re-\nvelation can be ours.\nIn short, speech about a thing lacks\nall sanity without the hearers are first\ntold what it's all about and until they\ncan judge for themselves. A vague\nrecollection of Shakespeare is something\nto us when we come to read Coleridge\non his plays. And besides, we all\nhave a Shakespeare in the house. But\nwhen it comes to a play by Etherege\nand Shadwell, or even Congreve, unless\nthe play be in the same volume and\njoined to the discourse about it, we\nshall never be lured by the orator to\nread the play, to go out and hunt for\na copy, to buy the play or listen to the\norator; and it's quite likely we shall\ndamn the best orator and wonder why\nthe publisher didn't have enough faith\nso die Drama itself and had too much\nin the critic of it.\nIt is futile to hope that we shall\nbe sent by Mr Dobree to Eiherege,\nfor there is not time in 1925 for even\nthe average man to go trotting around ;\nand I for one will wager that very few\nof the exceptional men will have time\nto do so.\nBesides, there are too few and too\nexpensive Congreves and Ethereges in\nthe market. WANTED a shilling\nCongreve: ,.,.and for our part we\nwant that volume prefaced by Mr\nDobree.\nYes, there's something in it, isn't\nthere ?"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c064", "article_bluemountain": "bmtnaau_1925-10_01#c064", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "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=bmtnaau192510-01.2.14.6", "titre_corps": "LIFE OF WILLIAM CONGREVE", "titre_sommaire": "LIFE OF WILLIAM CONGREVE", "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": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.54", "debut_caractere": 2937, "fin_caractere_exclue": 4117, "texte": "LIFE OF WILLIAM CONGREVE\nby Edmund Gosse C. B. Heinemann.\n7/6.\nMR Gosse is always gallant, and so\nhe was one of the earliest, if not\nthe very first, to write the Life of\nCongreve.\nHe might have written the life of\nEtheridge, but what would there have\nbeen gallant in such an act as that ?\nNo. Congreve the bore, that's the\nman to stand by, to prop up, force\nbefore the Public, stick to, and finally\ntriumph with.\nThat's the splendid English gallantry\nof it, and in Mr Gosse gallantry glows\nwith a steady flame.\nWhen I speak of Congreve as a\nbore, I only mean that he fails to be\nbrilliant like Etheridge or powerful like\nWycherley. He meanders, he has grace,\nhe is charming, .... he is, in fact, a\nperfect bore.\nWhat pains he is at to make no\nfaults, this perfect Congreve. But it\nis Mr Gosse and his book we have to\nconsider, and it seems to me as good\ntoday as it was when it first appeared\nsome years ago.\nWritten probably with great difficulty,\nit has about it all the signs of easy\nwriting.\nWhat is known of Congreve is ali\nthere, and what is known is really\nhardly worth recording.\nHow remarkable then that so great\nan impression has been made with this\nbook upon ali of us."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c065", "article_bluemountain": "bmtnaau_1925-10_01#c065", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "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=bmtnaau192510-01.2.14.7", "titre_corps": "THE THEATRE: IDEAS AND", "titre_sommaire": "THE THEATRE: IDEAS AND", "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": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.54", "debut_caractere": 4119, "fin_caractere_exclue": 5692, "texte": "THE THEATRE: IDEAS AND\nIDEALS. J. W. H. Faulkner.\nA. Stockwell, London. 2/—.\nI wonder whether Mr Faulkner is\nquite correct in his statement that\n\" the first Theatre was built by the\nGreeks between three and four hundred\nyears before Christ M?\nI have an idea that theatres existed\nlong before that.\nAnd I wonder, is Mr Faulkner\ncorrect when he says that 44 An Exhi-\n44 bition of Paintings, a Concert, a\n44 Recital of Verses, a Display of Dan-\n44 cing.... none of these are entertain-\n44 ments \".\n1 wonder what he would call Po-\nlitics, as we receive them daily through\nthe newspaper. I, who am a theatre-\ngoer, rather resent seeing so much\ndrama made out of politics in our\nDaily Papers. It makes me quite bo-\nred when I go to hear a play.\nThe ideas and ideals set forth in\nthis little booklet of 32 pages are\nfreshly stated and familiar to us. The\nmore often they are repeated (provided\nanyone listens) the better for the London\nstage.\nUnfortunately in London hardly\nanyone has time to listen, except to\nhis own voice. What with having to\nget through a hard day's work, and\nhaving to sit through the wrong play\nat night, (for it's difficult to back a\nwinner each time), listening has to be\nput off until our August days at Mar-\ngate, when all we want to listen to\nthen is what are the tame waves saying.\nBut everyone belonging to the Bri-\ntish Drama League should assuredly\npurchase this two shillings's worth of\nIdeas and Ideals, and do their very\nbest to spread them through the length\nand breadth of the land.\nBut the first thing to do is to per-\nsuade people to listen,"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c066", "article_bluemountain": "bmtnaau_1925-10_01#c066", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "49", "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=bmtnaau192510-01.2.14.8", "titre_corps": "SMARAGDAS LOVER ; A", "titre_sommaire": "SMARAGDAS LOVER ; A", "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": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.54", "debut_caractere": 5694, "fin_caractere_exclue": 6568, "texte": "SMARAGDAS LOVER ; A Dra-\nmatic Phantasmagaria by W. /. Tur-\nner. Chatto & Windus. 5/-\nMR W. J, Turner has a very\nstrong, a very genuine sense of\nthe Theatre. It is needless to tell\nhim he avoids coming to the ordinary\nHecuba or to warn him not to be\ntempted away by unrealities, for it is\njust by wandering exactly where he\nwanders that he will come across the\nreal lady, There will then be no\ndoubt at all what Hecuba is to him\nand he to Hecuba. Shell be right\nthere, tragic or comic as he wills.\nMeantime, spite of this essential gift\nof his, he has not come across her\nthis time. But he is almost there.\nThis is not a little to be able to\nsay. For he hasn't been looking for\nher in any of the places she long\nago left.\nHis Phantasmagoria is a wierd and\nenchanting comedy which I think the\nEnglish actors of our day could make very\nlittle out of. When you have read it, if"}, {"page_pdf": 55, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 2558, "texte": "you have an eye to its exploitation on the\nmodern stage, you more than likely close\nthe volume with the word 44 unsatis-\nfactory \" but what else can a thing\nof this kind be ? is not a Phantasma-\ngoria 44 a crowd or succession of dim\nor doubtfully real figures \" ?\nIn any event it is good reading for\nit moves along and without effort, so\nlong as one remembers that nothing is\nquite real. Sometimes it exceeds even\nunreality, not only in the situations but\nin the very speeches, as, for example,\nwhen the Prime Minister in the play\nsays of Sir Leo Edward Meyer,\n44 Extraordinary people these Jews!\nAll the world s shadiest transactions\nare done in their houses but never\nby them \".\nAgain i come to the principal de-\nfect in all plays, and that is not any\nfault committed by the authors. This\ndefect is that we are fast asleep in\nEngland so far as our Theatre is con-\ncerned. Proof: This.... Were we awake\nwe would of course produce this drama\nwithin the month; and the same au-\nthor's 44 Popomac \" play would have\ncome (come and gone, or come and\nstayed) at least a year ago.\nBut no, we are asleep. And how\nwe dream, to be sure. We dream\nthat by selecting what we think to be\nexcellent plays made in the right way\nwe may get at last at the plays.\nGloriously comic, crazy, dream. We\nshall get at last at the plays if we\nproduce without any pausing or any\nsilly sort of superior hesitation, every\nplay which every writer of even fair\ntalent, has the courage to pen.\nWe shall produce them cheaply,\nrapidly and well. It is quite easy to\ndo it cheaply and well provided you're\nrapid about it.\nWe shall thus put upon the stage\nmany hundreds of new plays each year,\nthree or four of which will prove\ntheir worth, thirty, or forty their promise,\nand some hundreds will pass away.\nWe (sleeping) dream that we can\nbe cleverer than that. Utter delu-\nsion.\nIn any case I hope Mr Turner\nwill write and publish every play that\nhe has even the faintest desire to write\nand publish, even if the London stage\nis not yet awake: for we want to see\nall that he has in his imagination;\ntechnically we see what he might do\nshould he wish to; but if the Theatre\nwill go on dreaming he cannot exactly\nexercise that wish to any great extent.\nThe English stage is in the condi-\ntion it was in years ago, Men of ta-\nlent exist who should be given Thea-\ntres so as to wake it up. Till it wakes\nup the work of thousands of writers,\nactors, producers, will be wasted, and\nI do not believe England can afford\nto waste in this manner, I wont call it\nshameful; it is merely excessively stupid"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c067", "article_bluemountain": "bmtnaau_1925-10_01#c067", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.14.9", "titre_corps": "A GUIDE TO CAPER by Thomas Bodkin and Denis Eden. (Chatto & Windus). 5 shillings", "titre_sommaire": "A GUIDE TO CAPER by Thomas Bodkin and Denis Eden. (Chatto & Windus). 5 shillings", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 2560, "fin_caractere_exclue": 3983, "texte": "A GUIDE TO CAPER by Thomas\nBodkin and Denis Eden. (Chatto &\nWindus). 5 shillings.\nC.\nAT'OU follow the pictures, not the\ntext, of this Guide,... if you want\nto get there: but the text helps.\nIt's the best five shillings* worth I\nhave seen for many a day. Mr Eden\nis a new name to us, but there is no-\nthing at all of the beginner about his\nwork.\nThe second picture, the last picture,\nthe ninth, tenth and eleventh pictures\nall play with light. If the sun is down\nthe moon shines; or a fire, or the stars\ntwinkle, and it is this light which gives\nus so much happiness when we look\nat these inhabitants of Caper, living the\nmost sensible existence man could ever\nlive, even after thinking about it for\nyears.\nI am an entire admirer of this ar-\ntist. I have nothing to find fault\nwith,... the whole thing is perfect.\nAnd not the least perfect thing about\nit is Messrs Chatto & Windus's ins-\ntinct or judgement, in having recogni-\nzed in Mr Eden an artist of first class\nfancy. Just as courtesy is in every\ntouch, so is there courtesy in the way\nit has been brought out.\nCharm is a word which extends to\nhoydens, Mrs Jordan was charming\nThis book is more than that.... and\nthe way it has been issued by the\npublishers, its paper, its covers, wrap-\nper, title page and all, reveals an un-\nderstanding for which I can find no\nbetter word than courtesy. If ten\nthousand copies be not sold quite soon\nI shall be very much surprised."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c068", "article_bluemountain": "bmtnaau_1925-10_01#c068", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.14.10", "titre_corps": "THE SLEEPING BEAUTY by", "titre_sommaire": "THE SLEEPING BEAUTY by", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 3985, "fin_caractere_exclue": 4752, "texte": "THE SLEEPING BEAUTY by\nEdith Sitwell. Duckworth. 5/- net.\nA poem of 96 pages is an achieve-\nment. I suppose Miss Sitwell a\nlover of the more eleborate drawings\nby Aubrey Beardsley.\nNever having read anything of hers\nbefore this is my impression.\nFirst that there are seasons and\nseasons for poems. I feel that this\none came out in the wrong season.\nI am in a cold room as I read this\npoem, and I wonder why it does not\ngo easily. Not Miss Sitwell's fault, but\nmine to be so placed twixt the cold and\nthis deep sea.\nObviously Miss Sitwell is full of\ngifts, clever, a poet, ....a graceful one;\nand with an ability to go on.\nAs I read it I find myself unable\nto believe that the Sleeping Beauty is\na theme any poet could make anything\nmore out of than has Miss Sit well."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c069", "article_bluemountain": "bmtnaau_1925-10_01#c069", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.14.11", "titre_corps": "JUDAS. A Tragedy in Three Acts", "titre_sommaire": "JUDAS. A Tragedy in Three Acts", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 4754, "fin_caractere_exclue": 5143, "texte": "JUDAS. A Tragedy in Three Acts\nby Claude Houghton. 7he Four Sees\nCo. Boston. 2.00.\nI do not think that everyone and\nanyone should be at liberty to take\nup a pen and write tragedies in three\nacts or in four.\nIf they do so, and fail to write\nwell, I see no reason why they should\never do it again.\nMr Houghton has done ill, and I\nhope his next will be free from all\nthat I find in this play."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c070", "article_bluemountain": "bmtnaau_1925-10_01#c070", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.14.12", "titre_corps": "THYREA AND OTHER", "titre_sommaire": "THYREA AND OTHER", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 5145, "fin_caractere_exclue": 5641, "texte": "THYREA AND OTHER SON-\nNETS by John Ferguson. Andrew\nMelrose, Ltd. 1/6 net.\nTHIS little book of Sonnets, reprin-\nted from the 44 English Review\n44 Irish Monthly \" and other papers,\nis in its second edition. 1he theme\nof a large number of the sonnets is\nderived from theatre life and experien-\nces. It has an introduction by Mr.\nW. L. Courtney who writes 44 Here is\na booklet of sonnets which I can warm-\nly commend to the judicious reader \".\nI transmit his message to the readers\nof 44 The Mask \"."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c071", "article_bluemountain": "bmtnaau_1925-10_01#c071", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.15", "titre_corps": "BOOK NOTES", "titre_sommaire": "BOOK NOTES", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 5643, "fin_caractere_exclue": 6415, "texte": "BOOK NOTES.\n\nHERE in Italy much Theatre litera-\nture is continually published.\nAn interesting article on the work\nof Gordon Craig by Henry Furst ap-\npeared in \" II Piccolo * lately.\nAnother appeared on the same\nsubject in \" Comoedia \" for November\n10th, which is issued in Milano. The\narticle was written by A. Nasaili Rocca,\nwho contributed an article on the old\nTheatres of Piacenza to the October\nnumber of \" The Mask .\n\" Comoedia \" often contains inte-\nresting items. It is published by Mon-\ndadori, (Galleria Vittorio Emanuele 74)\nMilano, and edited by Umberto Frac-\nchia, a young writer of talent and\nexperience.\nO\n\nPITY THE POOR PLAY WRITER.\n44 The average fee for a three act\nplay is five pounds per performance .\nMonica Ewer, in\n44 Play Production for Everyone \"."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c072", "article_bluemountain": "bmtnaau_1925-10_01#c072", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.15.1", "titre_corps": "HERE in Italy much Theatre", "titre_sommaire": "HERE in Italy much Theatre", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 5656, "fin_caractere_exclue": 6263, "texte": "HERE in Italy much Theatre litera-\nture is continually published.\nAn interesting article on the work\nof Gordon Craig by Henry Furst ap-\npeared in \" II Piccolo * lately.\nAnother appeared on the same\nsubject in \" Comoedia \" for November\n10th, which is issued in Milano. The\narticle was written by A. Nasaili Rocca,\nwho contributed an article on the old\nTheatres of Piacenza to the October\nnumber of \" The Mask .\n\" Comoedia \" often contains inte-\nresting items. It is published by Mon-\ndadori, (Galleria Vittorio Emanuele 74)\nMilano, and edited by Umberto Frac-\nchia, a young writer of talent and\nexperience.\nO"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c073", "article_bluemountain": "bmtnaau_1925-10_01#c073", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "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=bmtnaau192510-01.2.15.2", "titre_corps": "PITY THE POOR PLAY WRITER", "titre_sommaire": "PITY THE POOR PLAY WRITER", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.55", "debut_caractere": 6265, "fin_caractere_exclue": 6415, "texte": "PITY THE POOR PLAY WRITER.\n44 The average fee for a three act\nplay is five pounds per performance .\nMonica Ewer, in\n44 Play Production for Everyone \"."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c074", "article_bluemountain": "bmtnaau_1925-10_01#c074", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "52", "image_debut": 56, "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=bmtnaau192510-01.2.16", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 6652, "texte": "EDITORIAL NOTES.\n\nTHE ITALIAN THEATRE.\nTHE old Italian Theatre, and by\nthat we mean its professional Thea-\ntre as it is today, pleases us so much\nthat, unless very fine innovations are\nmade, we would respectfully suggest\nthat it is perhaps better for the Ita-\nlians to avoid novelties.\nTheir Theatre is not the first in\nEurope because of the elegance and\ncomfort of its poltrone and its palchi\n(there England and America lead),\nnor because scenographically it is suf-\nficient, or because it is developing a\nnew group of excellent playwrights.\nIt is first by virtue of its first-class\nacting and singing, because acting and\nsinging come to Italians apparently with\nimmense ease ....not because of any\ncleverness, which after all is a very\nsmall thing at best.\nFirst they have a language; they\nknow how to speak it : they never\nmumble, drawl, are never foggy; all\nis crisp, deliberate, and rapid. They\nknow how to carry themselves ; they\nare born professionals; they 44 act\nthey do not pretend to deceive us\nthat they are 44 real \".\nYet while acting they never play at\n44 make believe \" ; they do not imi-\ntate toy soldiers and fashion plates and\nstatuary. While they are never unreal\nin that sense, 44 Realism \" has never\nbeen thinkable to them, for they know\nwhat is what, and find Realism as\nlaughable as they find forced arti-\nficiality depressing.\nThis it is which we think places\nall Italian actors in another sphere to\nthe actors of Russia, who are born\n*\nrealists and deuced serious about it all,\nor born copyists of statuary, engra-\nvings, wooden toys and the like. Ita-\nlian actors are not like German actors,\nwho are always earnest and clever but\nnever quite the thing. Certainly En-\nglish actors are the most gentlemanly\nin Europe; and French actors, ever\nthe neatest; but Italian actors are ac-\ntors before Abraham was,\nSo that when nowadays innovations\nare made in the way that the 44 Indepen-\ndenti the 44 Tetiteairo \" or T6thys-\nTheatre make them, or as Signor Bra-\ngaglia makes them, we regret to say\nthat they ring false. The 44 innovators \"\ndo nothing original.\nIt is all what we call rather cheap.\nWe have seen the designs for the\nnew 44 Teatro del Convegno \" and it\nstrikes us they are curiously poor.\nIf Italy possessed the knack for imi-\ntating northern nations, it would not\nhave waited twenty years to seize on\nthe notion used- now as an inn vation\nfor the new stage of the 44 Teatro del\nConvegno \".\nThe 44 Piccola Canobbiana \" de-\nsigns for stage machines and audito-\nrium and proscenium are no better.\nSironi's designs for 44 I cavalieri \"\nare influenced by northern notions but\nare not at all good.\nAs for Signor Bragaglia, he has\nmuch excellent energy, little judgment\nand no originality. He catches hold\nof all the notions he can find in the\nbooks of the last twenty-five years,\nand on a small stage he manages to\nhuddle them all together, bringing out\nmuch printed matter to announce their\nexistence. The whole effect is that of\na mis-fit. Of course he does not\nadmit where he has gathered most of\nthese notions : he seems to think that\nthey are public property. By thus using\nthem he becomes one of the public.\nWe don't like it a bit. Signor Bra-\ngaglia can, we feel sure, do better, ....or\ndo less. It's not at all worthy of the\nimmense tradition of the Italian stage.\nItalians have imagination, have always\nhad it. So that to echo and to copy\nis, in an Italian, very poor, and in no\nway represents the new spirit which\nhas inspired Italy to stand on its own\nmerits in all things, and which seems\nto possess enough force to last out the\ncenturies.\nThe Facist Theatre, when it comes,\nwill be one of the blossoms of this\nNew Italy which today has no time\nto turn to thoughts of blossoming, since\nits sole thought is the natural one, ....that\nof spreading roots.\nPlenty of time for the arts later on.\nInevitably those arts will blossom in\ntime. Meanwhile these sad attempts\nto 44 innovate \" in the grand Italian\ntheatre are rather ridiculous; and the\nnotion that the Italian spectators, are\ntaken in cannot be maintained for a\nmoment.\n\nA POET'S THEATRE.\nMR John Masefield has built him-\nself a theatre at Boar's Hill, near\nOxford.\n\" What ridiculous nonsense \" is the\nverdict of those folk who cannot al-\nlow that a Theatre may be other than\nthe swagger Teatro Fenice in Venezia\nor the Prinz Regenten in Munchen.\nAs though Selva and Semper (or\nwhoever built the Wagner Theatre)\nare to be the only model husbandmen.\nWho knows better than a Dramatic\npoet what kind of Theatre is suited to his\nplays ? We understand that the Poetic\nDrama by several poets will be presented\nby Mr Masefield at his playhouse, which\nis a simply constructed building in his\ngarden, and is designed to accommodate\nabout one hundred persons. A first\nproduction has been already given, and\nafter Christmas it is hoped that an Eliza-\nbethan comedy may be produced. The\nstage is broad and sceneries are not\ngoing to be allowed to be a nuisance.\nOne London paper was cruel enough\nto say that 44 artistic curtains \" would\nbe used in place of the sceneries. As\na matter of fact we believe that Mr\nMasefield has around him a group of\ndisciples, not studying how to write,\nbut helping Mr Masefield how to play\nat theatres.\nAnd in our. opinion to play at Thea-\ntres in England is the very best thing\none could possibly do. And if in the\ncountry, the country wvay of doing this\nis ihe right way. That is why we\nutterly disbelieve the shocking suggestion\nof 44 artistic curtains Country thatch\ncountry wattles, country oak planks,,.,\nany of these as a background if you\nlike; there is danger in 44 artistic curtains \"\nthey are apt to catch fire. But then this\nwould assuredly bring Mr Masefield's\nplayhouse all the advertisement from\nwhich we think a country theatre should\nbe entirely exempt, but which the prac-\ntical man, even if he be in the desert,\nthinks is necessary.\nThe unfortunate fate of too many\na country playhouse is that it becomes\nthrough advertisement, just what the\npoet would hate it to be, ....what the\npoet never for a moment suspected it\nwas being lured to be; that is to say,\na bit of a sensation.\nWe recall the fate of several coun-\ntry, or semi-rural, playhouses, Before a\nyear was out someone (assuredly not\nthe Poet) had been over-energetic;\n(that 4 practical * person over again) it\nhad been dragged or pushed up to\nLondon, where it played a while and\nwent out, puff, like a lamp.\nWhy, after having chosen a noble\nrural spot as the place of places for\na Theatre, a dash should be made at\nthe first chance for London, is puzzling.\nGoethe, who played with Theatres,\nplayed with a real playhouse ....in\nWeimar.... with a Court as well as"}, {"page_pdf": 57, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 7058, "texte": "the towns-people as spectators. He\nworked hard at this playhouse of his,\nand it was even less than the poodle\nyou will remember which caused his\ndownfall as Theatre Director. It was\neven Fraulein Caroline Jagemann.\nAnd there have been other poets who\nfor a time have had little playhouses.\nVoltaire had one at Ferney. Here,\nabout 1776, Lekain stopped for some\ndays to perform to a select and ap-\npreciative audience. At Cirey, too,\nVoltaire had a playhouse of his own :\nand some years earlier had one in his\nvilla at Vernier, but we never hear of\nhim suddenly carrying his charming if\namateur troupe to Paris or Berlin.\nWe have not seen any drawings or\nengravings of these Theatres, but in\n1772, (about the time of the Ver-\nnier theatricals) it was customary to\nbe too magnificent rather than too\nsimple. The playhouse was a word\nwhich stood for something with style,\na sparkle of swagger in it. The poet\nAlbergatti liked things to look well-\ndressed, and so his theatre in Zola\nnear Bologna was the very thing. A\nlittle bit of a village this same Zola,\nbut then a big piece of a Chateau,\nand in the Chateau some Teatrino\nas Mr Stein would say, to seat three\nhundred people. And the poet Pe-\npoli.... how many theatres he built in\nhis houses in Venezia and Bologna\nand in his villas at Codalunga and\nelsewhere has net yet been decided.\nBut it is on record that he not only\nhad his own plays and those of other\npoets performed in them, but also\noperas in prose and ballets, in which\nPepoli danced, 44 the best dancer of\nthem all \" says the historian.\nBut of all private country theatres\nthat at Esterhaz, where Haydn lived\nfor many years writing his divine things\nfor the only quite divine performers....\nfor marionnettes.... is the country thea-\ntre we like to think of most. Haydn\nand Masefieid would have got on well\ntogether, we believe. What a pity\nthat the old Count Esterhazy of those\ndays is no more among us to show us\nall how.... exactly how.... a country\ntheatre should be set before the King :\n—or rather before himself and his\nhousehold. But as he is not with us,\nand as no lord seems to have retained\nthe old tricks that lords once played,\nwe must be content when a poet or\nany other artist rigs out a theatre for\nhimself. It's not the thing to do;...\n' Art for Art's sake' is no fun at all;\nand theatre for theatre's even less: but\nwhat would you ?... when a poet is\nat the same time a grand Signore he\ncan do these things as some of us\nthink they should be done ; when he\nhas only his crown of laurels, even if\nhe do them better, he cannot do them\nas they should be done.\nMr Masefieid will do them like a sim-\nple English poet, and that means he will\ndo them just as well as they can pos-\nsibly be done ; and those of us who\ncannot be there, will feel envious of those\nwho can, and who will hear beautiful\nverse spoken as it should be spoken.\nSee plate 2 and Page 35 for some\nidea of what a little private Theatre\nmeant in the 28th centmy, Ed.\n\nVALUELESS NEWS.\nTHE Observer in its issue for No-\nvember 2nd. had an exceptionally\nfunny twenty-five lines about a Berlin\nTheatre. Here it is : —\nEVEN BERLIN SHOCKED.\nTHE DRAMATIC THE A TRE\nCOMES TO GRIEF.\nThe movement of a few enthu-\nsiasts to help forward the great band\nof unacted dramatists has received a\ncrushing blow. The new \" Dramatic\nTheatre \", which opened with every\nencouragement from the critics, and\nwhich produced George Kaiser's (t Bil-\nles and Jeanne \" as its first venture,\nhas since alienated every type of au-\ndience by a succession of extravagant\nplays violating all canons of good\ntaste even in so exceptionally broad-\n-minded a city as Berlin.\nThe result is a triumph for the\nwatchful Clerical Centre party, whose\nmembers have their own theatre league,\nbut needed their own house. While\nthe Social-Democrats support their own\nexcellent '' People's Theatre *which\ncarefully avoids plays of reactionary\ntendency, the tf Dramatic Theatre \"\nhas now become the home of the po-\nlitical Catholics, whose taste in drama\nis characterised not so much by pro-\npaganda as by elimination. This rules\nout, for instance, not only three-cor-\nnered problems, but divorce in its\nentirety. This is a triumph for the\nideals of the Centre, which would pass\nunnoticed in a Catholic province, but\nis a sign of its renewed activity in\nBerlin.\nq What foolery and what cliches !\nReally, it is time to ask even this\nwell-nigh perfect journal to make a\nscrap of its Foreign Theatre Correspon-\ndents and start afresh.\nFor some time we have studied\ncarefully the theatrical news sent to\n44 The Observer \" from Wien, Berlin,\nand Budapest; and have wondered how\nlong Mr Garvin would let it go on.\nWhy is foreign theatrical news\nnecesary to 44 The Observer unless\nit be either very entertaining or very\ninforming ?\nWe suppose that the only people\nwho feel the necessity are those who\nare ever active in informing London\nthat the North European Theatre is\nquite the most important upon earth.\nHundreds of English actors doubt-\nless read 44 The Observer \", but they\nwill surely not be impressed by the\nnonsense which week after week is\nsent from Wien, Berlin and Pest.\nFor example what the dickens is\nthere of interest in this twaddle from\nBerlin about some Theatre which is\n44 the home of the political Catholics \"\nand \" whose taste is characterised by\nelimination \" ? And how comes it that\nthis or any taste 44 rules out \" divorce\nin its entirety, and how is this 44 a\ntriumph for the ideals of the Centre \" ?\nAnd then, 44 Catholic province 44 re-\nnewed activity 44 watchful clerical\ncentre party \", 44 broadminded city of\nBerlin\".—Really, 44 Observer \" ! you\nwho are the very pride of journalism\nand our delight, to accept such Pro-\npaganda from the Theatre of Elimi-\nnation in Berlin is not what you came\ninto existence to do. To hear from\nWien or Budapest that an audience\nhas sat spellbound, or that one could\nhave heard a pin drop, hardly carries\nas far as London.\nBesides, what Austria and Germany\ndo in Theatres is not half as important\nas the good 44 Observer\" seems to\nthink. If there is space that needs fill-\ning, we know of a good number of peo-\nple who could make that space glitter.\nThere is much being done in the\nEuropean and American Theatre week\nby week; but, strange as this may\nsound to some ears, it is not always\nto be found inside a playhouse.\nFor example, a book now and\nagain appears which does more to\nadvance the European Theatre than\ntwo years of energetic acting and pro-\nducing will do. Yet we hear nothing\nof this book,... or next to nothing. A\nfoolish conference is held, and it is re-\nported gravely. Or a new society for-\nmed, and reported as gravely. No dis-\ncernment is shown by the reports\ntwixt what is of value and what worth-\nless. This is a pity and a great waste\nof valuable space, time and money.\n11 Observer n will pardon this pre-\nsumption from the smallest serious paper\non earth to the largest and most im-\nportant;... but it is w The Mask's *\nspeciality, this little matter of Thea-\ntres. Like all specialists it thinks it\nknows. Who knows,... perhaps it may."}, {"page_pdf": 58, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 6831, "texte": "VENEZIA AND PROGRESS.\nTO judge from some recent articles\nin 44 The Manchester Guardian **\nand 44 The Daily Telegraph \" people\ndo not seem to realize in England that\nItaly is not a Museum or a Theatre,\nand that its Cities, however superb,\nhave no wish to crumble just to oblige\nthe tourists and the archeologists.\nItaly looks on it that life comes\nfirst, and all the rest comes after.\nAnd if electric motors are to be\nof any aid towards bringing to life\npart of Venezia or of any other city in\nItaly, what sort of being is it that will\ncry out about this? Venezia and the\ncities of Italy are not for him, they\nare for those who live and work and\ndie there.\n44 The Mask \" is all for the Arts.\nYou know that, we think. But only\nfor Art which comes along because a\npeople is alive. When a city is dead,\na nation drugged, a continent dulled,\nArt had better wait awhile in that\ncity, nation or continent.\nTrue, perhaps, that around some\ncities (did the Italian nation wish it)\na wall or a line might be drawn with\norders given that it was too good an\nexample of ancient work to be dis-\nturbed. Such a place might be roped\noff and put apart as a National Mo-\nnument, and outside its walls a new\ncity built. Inside its walls the very\nplainest but cleanest accommodation\nmight be provided for all who wished\nto study and work there in the monu-\nment, as in a vast Biblioteca, and\nspecial permissions granted to such on\nthat understanding. We have often\nfelt that cities like Venezia or San Gi-\nmignano might well be reserved for\nsuch a purpose.\nBut if the cities must be used, and\nmust be brought up to date, why not?\nWhere is Shakespeare's, Bacon's and\nElizabeth's London ? Has the loss of\nthat particular place (and lost it is)\nbeen no gain ? And if Titian's, Tie-\npolo's and the Doges* Venezia should\npass, where would be the loss ? To\nus, yes; to you, yes, to many thou-\nsands yes, ....but to many millions,\nprobably no. What use in architecture\nfor which the millions of people have no\ncare, which new laws no longer love ?\nGondolas are pretty boats, and to\nglide is sometimes a pleasant necessity,\nand a canal is not always as bad as\nit seems. But, since Shakespeare's Plays\nare not valued by us, Englishmen had\nbetter, we think, pause before too has-\ntily criticizing their Venetian friends.\nHow comes it that we English\ncriticize ?\nIs it just because we somehow be-\nlieve Venezia to belong to us, ....to be\nour honeymoon spot, our playground.\nAnd what are we ? a nation of\npeople more forward than any in prai-\nsing speed, electricity, cinema, liste-\nning-in ; ....and we quickly produce a\nmillion pounds if promised a safe in-\nvestment in something up-to-date and\na curse to everyone.\nIn Manchester we weakly give over\na poor cheap little National Theatre\nto a Cinema firm : with a lot of word\nprotest yet without real resistence, we\nyield it up; yet we have the audacity\nto tell Venezia from Manchester to keep\nitself unspotted from the monopoly for\nthe supply of motors.\nPrivate enterprise could have saved\nfor Manchester its Theatre Royal; and\nhad the 44 Manchester Guardian \" spo-\nken with the spirit it so often shows\nin other matters, (ie, in money matters)\nno commonplace motor-driven cinema\ncould have come into the Theatre\nRoyal.\nWhen Manchester can save one\nTheatre, and a grand old place like the\nTheatre Royal, it will be quite time\nenough for Manchester to lecture Ve-\nnezia.\n\nAS OTHERS SEE ....LONDON.\nJ. S.\nCAN anyone tell us what caused\nSir Alfred Butt or the Drury\nLane Committee to piace Mr Basil\nDean at the head of Drury Lane\nTheatre ?\nAccording to George Jean Nathan\nof New York, Dean would seem to\nbe a man of very- small talent, as\nthe following passage from an article\nin 44 The American Mercury \" will\nshow. Dean has been over in New\nYork producing plays. We want to\nsee a man put into Drury Lane who\nhas no time to go to New York or\nNewhaven to produce anything.\nNathan says that 44 It is not James\n44 Elroy Flecker's 44 Hassan \" that has\n44 failed, it is Mr Basil Dean's. Flecker\n44 wrote a play rich in the music of\n44 romance and poesy, as beautiful a\n44 thing of its kind as has appeared\n44 in recent dramatic literature; Dean\n44 staged it with all the imagination\n44 and rhythm of a sailor's smoker.\n44 The production, indeed, served as a\n44 piquant example of the low level to\n44 which the English stage, in this\n44 respect, has sunk. Dean is regarded\n44 as one of the best and most artistic\n44 of London producers, Over here,\n44 they do finer work up alleys.\n44 I have passed an eye over seven\n44 or eight of Dean's productions, three\n44 in New York and the others in\n44 England. All of them have been\n44 drolly incompetent. Not only has\n44 the gentleman apparently no sense of\n44 the dramatic, not only is he seeming-\n44 ly quite innocent of the technic of\n44 projecting a manuscript over the\n44 footlights, but he is, to boot, utterly\n44 without a sense of beauty and a\n44 sense of form. His ideas of scenic\n44 investiture go back to the day when\n44 furniture was painted on the back-\n44 drop and when a 4 big production *\n44 was any one in which the stage\n44 was so packed and crowded with\n44 scenery and irrelevant but costly\n44 props that the actors had to make\n44 their entrances from the wings side-\n44 ways. His ideas of lighting are so\n44 absurdly antiquated that even some\n44 of the most patriotic London re-\n44 viewers have difficulty in concealing\n44 their derisory hiccups. For Dean\n44 appears to believe that all that is\n44 necessary to achieve some exception-\n44 ally nobby illumination effects are\n44 a half dozen vari coloured gelatine\n44 slides supplemented by an indefati-\n44 gable fellow stationed at the dimmer.\n44 He sought to evolve mystery with\n44 a mere blue light and romance with\n44 a pink one. In the matter of dra-\n44 matic suggestion, he was equally\n44 unhappy. His scenes of melodrama\n44 were painstakingly languid ; his scenes\n44 of physical passion, as, for exam-\n44 pie, the one wherein the fair Yasmin\n44 conquers the flesh of Hassan, were\n44 as sexual as playing postoffice.\n44 Thus was a beautiful poem with\n44 its beautiful incidental music of Fre-\n44 derick Delius and with all its poten-\n44 tial stage wonder reduced to no-\n44 thing \".\nThis comes of being possessed of an\nability to push into Drury Lane with-\nout credentials. This comes of dis-\nhonest theatrical Criticism.\nLondon is slowly being made a\nlaughing stock by this sort of thing,\nand it is time the London Press said\nso clearly.\nUnfortunately Walkley, Archer,\nGrein and a few others do nothing to\nimprove matters. They either are cy-\nnical about our stage or gush about\nits worst elements. Not that Walkley\nor Archer err about playwrights; but\nto Theatricals they are sense-blind.\nGrein is not blind; he is merely ut-\nterly unfitted for a responsible positiou\nas a critic of our English Theatre."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c076", "article_bluemountain": "bmtnaau_1925-10_01#c076", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "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=bmtnaau192510-01.2.16.2", "titre_corps": "THE ITALIAN THEATRE", "titre_sommaire": "THE ITALIAN THEATRE", "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": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.56", "debut_caractere": 18, "fin_caractere_exclue": 4062, "texte": "THE ITALIAN THEATRE.\nTHE old Italian Theatre, and by\nthat we mean its professional Thea-\ntre as it is today, pleases us so much\nthat, unless very fine innovations are\nmade, we would respectfully suggest\nthat it is perhaps better for the Ita-\nlians to avoid novelties.\nTheir Theatre is not the first in\nEurope because of the elegance and\ncomfort of its poltrone and its palchi\n(there England and America lead),\nnor because scenographically it is suf-\nficient, or because it is developing a\nnew group of excellent playwrights.\nIt is first by virtue of its first-class\nacting and singing, because acting and\nsinging come to Italians apparently with\nimmense ease ....not because of any\ncleverness, which after all is a very\nsmall thing at best.\nFirst they have a language; they\nknow how to speak it : they never\nmumble, drawl, are never foggy; all\nis crisp, deliberate, and rapid. They\nknow how to carry themselves ; they\nare born professionals; they 44 act\nthey do not pretend to deceive us\nthat they are 44 real \".\nYet while acting they never play at\n44 make believe \" ; they do not imi-\ntate toy soldiers and fashion plates and\nstatuary. While they are never unreal\nin that sense, 44 Realism \" has never\nbeen thinkable to them, for they know\nwhat is what, and find Realism as\nlaughable as they find forced arti-\nficiality depressing.\nThis it is which we think places\nall Italian actors in another sphere to\nthe actors of Russia, who are born\n*\nrealists and deuced serious about it all,\nor born copyists of statuary, engra-\nvings, wooden toys and the like. Ita-\nlian actors are not like German actors,\nwho are always earnest and clever but\nnever quite the thing. Certainly En-\nglish actors are the most gentlemanly\nin Europe; and French actors, ever\nthe neatest; but Italian actors are ac-\ntors before Abraham was,\nSo that when nowadays innovations\nare made in the way that the 44 Indepen-\ndenti the 44 Tetiteairo \" or T6thys-\nTheatre make them, or as Signor Bra-\ngaglia makes them, we regret to say\nthat they ring false. The 44 innovators \"\ndo nothing original.\nIt is all what we call rather cheap.\nWe have seen the designs for the\nnew 44 Teatro del Convegno \" and it\nstrikes us they are curiously poor.\nIf Italy possessed the knack for imi-\ntating northern nations, it would not\nhave waited twenty years to seize on\nthe notion used- now as an inn vation\nfor the new stage of the 44 Teatro del\nConvegno \".\nThe 44 Piccola Canobbiana \" de-\nsigns for stage machines and audito-\nrium and proscenium are no better.\nSironi's designs for 44 I cavalieri \"\nare influenced by northern notions but\nare not at all good.\nAs for Signor Bragaglia, he has\nmuch excellent energy, little judgment\nand no originality. He catches hold\nof all the notions he can find in the\nbooks of the last twenty-five years,\nand on a small stage he manages to\nhuddle them all together, bringing out\nmuch printed matter to announce their\nexistence. The whole effect is that of\na mis-fit. Of course he does not\nadmit where he has gathered most of\nthese notions : he seems to think that\nthey are public property. By thus using\nthem he becomes one of the public.\nWe don't like it a bit. Signor Bra-\ngaglia can, we feel sure, do better, ....or\ndo less. It's not at all worthy of the\nimmense tradition of the Italian stage.\nItalians have imagination, have always\nhad it. So that to echo and to copy\nis, in an Italian, very poor, and in no\nway represents the new spirit which\nhas inspired Italy to stand on its own\nmerits in all things, and which seems\nto possess enough force to last out the\ncenturies.\nThe Facist Theatre, when it comes,\nwill be one of the blossoms of this\nNew Italy which today has no time\nto turn to thoughts of blossoming, since\nits sole thought is the natural one, ....that\nof spreading roots.\nPlenty of time for the arts later on.\nInevitably those arts will blossom in\ntime. Meanwhile these sad attempts\nto 44 innovate \" in the grand Italian\ntheatre are rather ridiculous; and the\nnotion that the Italian spectators, are\ntaken in cannot be maintained for a\nmoment."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c077", "article_bluemountain": "bmtnaau_1925-10_01#c077", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "51", "image_debut": 56, "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=bmtnaau192510-01.2.16.3", "titre_corps": "A POET'S THEATRE", "titre_sommaire": "A POET'S THEATRE", "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": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.56", "debut_caractere": 4064, "fin_caractere_exclue": 6652, "texte": "A POET'S THEATRE.\nMR John Masefield has built him-\nself a theatre at Boar's Hill, near\nOxford.\n\" What ridiculous nonsense \" is the\nverdict of those folk who cannot al-\nlow that a Theatre may be other than\nthe swagger Teatro Fenice in Venezia\nor the Prinz Regenten in Munchen.\nAs though Selva and Semper (or\nwhoever built the Wagner Theatre)\nare to be the only model husbandmen.\nWho knows better than a Dramatic\npoet what kind of Theatre is suited to his\nplays ? We understand that the Poetic\nDrama by several poets will be presented\nby Mr Masefield at his playhouse, which\nis a simply constructed building in his\ngarden, and is designed to accommodate\nabout one hundred persons. A first\nproduction has been already given, and\nafter Christmas it is hoped that an Eliza-\nbethan comedy may be produced. The\nstage is broad and sceneries are not\ngoing to be allowed to be a nuisance.\nOne London paper was cruel enough\nto say that 44 artistic curtains \" would\nbe used in place of the sceneries. As\na matter of fact we believe that Mr\nMasefield has around him a group of\ndisciples, not studying how to write,\nbut helping Mr Masefield how to play\nat theatres.\nAnd in our. opinion to play at Thea-\ntres in England is the very best thing\none could possibly do. And if in the\ncountry, the country wvay of doing this\nis ihe right way. That is why we\nutterly disbelieve the shocking suggestion\nof 44 artistic curtains Country thatch\ncountry wattles, country oak planks,,.,\nany of these as a background if you\nlike; there is danger in 44 artistic curtains \"\nthey are apt to catch fire. But then this\nwould assuredly bring Mr Masefield's\nplayhouse all the advertisement from\nwhich we think a country theatre should\nbe entirely exempt, but which the prac-\ntical man, even if he be in the desert,\nthinks is necessary.\nThe unfortunate fate of too many\na country playhouse is that it becomes\nthrough advertisement, just what the\npoet would hate it to be, ....what the\npoet never for a moment suspected it\nwas being lured to be; that is to say,\na bit of a sensation.\nWe recall the fate of several coun-\ntry, or semi-rural, playhouses, Before a\nyear was out someone (assuredly not\nthe Poet) had been over-energetic;\n(that 4 practical * person over again) it\nhad been dragged or pushed up to\nLondon, where it played a while and\nwent out, puff, like a lamp.\nWhy, after having chosen a noble\nrural spot as the place of places for\na Theatre, a dash should be made at\nthe first chance for London, is puzzling.\nGoethe, who played with Theatres,\nplayed with a real playhouse ....in\nWeimar.... with a Court as well as"}, {"page_pdf": 57, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 2958, "texte": "the towns-people as spectators. He\nworked hard at this playhouse of his,\nand it was even less than the poodle\nyou will remember which caused his\ndownfall as Theatre Director. It was\neven Fraulein Caroline Jagemann.\nAnd there have been other poets who\nfor a time have had little playhouses.\nVoltaire had one at Ferney. Here,\nabout 1776, Lekain stopped for some\ndays to perform to a select and ap-\npreciative audience. At Cirey, too,\nVoltaire had a playhouse of his own :\nand some years earlier had one in his\nvilla at Vernier, but we never hear of\nhim suddenly carrying his charming if\namateur troupe to Paris or Berlin.\nWe have not seen any drawings or\nengravings of these Theatres, but in\n1772, (about the time of the Ver-\nnier theatricals) it was customary to\nbe too magnificent rather than too\nsimple. The playhouse was a word\nwhich stood for something with style,\na sparkle of swagger in it. The poet\nAlbergatti liked things to look well-\ndressed, and so his theatre in Zola\nnear Bologna was the very thing. A\nlittle bit of a village this same Zola,\nbut then a big piece of a Chateau,\nand in the Chateau some Teatrino\nas Mr Stein would say, to seat three\nhundred people. And the poet Pe-\npoli.... how many theatres he built in\nhis houses in Venezia and Bologna\nand in his villas at Codalunga and\nelsewhere has net yet been decided.\nBut it is on record that he not only\nhad his own plays and those of other\npoets performed in them, but also\noperas in prose and ballets, in which\nPepoli danced, 44 the best dancer of\nthem all \" says the historian.\nBut of all private country theatres\nthat at Esterhaz, where Haydn lived\nfor many years writing his divine things\nfor the only quite divine performers....\nfor marionnettes.... is the country thea-\ntre we like to think of most. Haydn\nand Masefieid would have got on well\ntogether, we believe. What a pity\nthat the old Count Esterhazy of those\ndays is no more among us to show us\nall how.... exactly how.... a country\ntheatre should be set before the King :\n—or rather before himself and his\nhousehold. But as he is not with us,\nand as no lord seems to have retained\nthe old tricks that lords once played,\nwe must be content when a poet or\nany other artist rigs out a theatre for\nhimself. It's not the thing to do;...\n' Art for Art's sake' is no fun at all;\nand theatre for theatre's even less: but\nwhat would you ?... when a poet is\nat the same time a grand Signore he\ncan do these things as some of us\nthink they should be done ; when he\nhas only his crown of laurels, even if\nhe do them better, he cannot do them\nas they should be done.\nMr Masefieid will do them like a sim-\nple English poet, and that means he will\ndo them just as well as they can pos-\nsibly be done ; and those of us who\ncannot be there, will feel envious of those\nwho can, and who will hear beautiful\nverse spoken as it should be spoken.\nSee plate 2 and Page 35 for some\nidea of what a little private Theatre\nmeant in the 28th centmy, Ed."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c078", "article_bluemountain": "bmtnaau_1925-10_01#c078", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "51", "page_fin": "51", "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=bmtnaau192510-01.2.16.4", "titre_corps": "VALUELESS NEWS", "titre_sommaire": "VALUELESS NEWS", "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": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.57", "debut_caractere": 2960, "fin_caractere_exclue": 7058, "texte": "VALUELESS NEWS.\nTHE Observer in its issue for No-\nvember 2nd. had an exceptionally\nfunny twenty-five lines about a Berlin\nTheatre. Here it is : —\nEVEN BERLIN SHOCKED.\nTHE DRAMATIC THE A TRE\nCOMES TO GRIEF.\nThe movement of a few enthu-\nsiasts to help forward the great band\nof unacted dramatists has received a\ncrushing blow. The new \" Dramatic\nTheatre \", which opened with every\nencouragement from the critics, and\nwhich produced George Kaiser's (t Bil-\nles and Jeanne \" as its first venture,\nhas since alienated every type of au-\ndience by a succession of extravagant\nplays violating all canons of good\ntaste even in so exceptionally broad-\n-minded a city as Berlin.\nThe result is a triumph for the\nwatchful Clerical Centre party, whose\nmembers have their own theatre league,\nbut needed their own house. While\nthe Social-Democrats support their own\nexcellent '' People's Theatre *which\ncarefully avoids plays of reactionary\ntendency, the tf Dramatic Theatre \"\nhas now become the home of the po-\nlitical Catholics, whose taste in drama\nis characterised not so much by pro-\npaganda as by elimination. This rules\nout, for instance, not only three-cor-\nnered problems, but divorce in its\nentirety. This is a triumph for the\nideals of the Centre, which would pass\nunnoticed in a Catholic province, but\nis a sign of its renewed activity in\nBerlin.\nq What foolery and what cliches !\nReally, it is time to ask even this\nwell-nigh perfect journal to make a\nscrap of its Foreign Theatre Correspon-\ndents and start afresh.\nFor some time we have studied\ncarefully the theatrical news sent to\n44 The Observer \" from Wien, Berlin,\nand Budapest; and have wondered how\nlong Mr Garvin would let it go on.\nWhy is foreign theatrical news\nnecesary to 44 The Observer unless\nit be either very entertaining or very\ninforming ?\nWe suppose that the only people\nwho feel the necessity are those who\nare ever active in informing London\nthat the North European Theatre is\nquite the most important upon earth.\nHundreds of English actors doubt-\nless read 44 The Observer \", but they\nwill surely not be impressed by the\nnonsense which week after week is\nsent from Wien, Berlin and Pest.\nFor example what the dickens is\nthere of interest in this twaddle from\nBerlin about some Theatre which is\n44 the home of the political Catholics \"\nand \" whose taste is characterised by\nelimination \" ? And how comes it that\nthis or any taste 44 rules out \" divorce\nin its entirety, and how is this 44 a\ntriumph for the ideals of the Centre \" ?\nAnd then, 44 Catholic province 44 re-\nnewed activity 44 watchful clerical\ncentre party \", 44 broadminded city of\nBerlin\".—Really, 44 Observer \" ! you\nwho are the very pride of journalism\nand our delight, to accept such Pro-\npaganda from the Theatre of Elimi-\nnation in Berlin is not what you came\ninto existence to do. To hear from\nWien or Budapest that an audience\nhas sat spellbound, or that one could\nhave heard a pin drop, hardly carries\nas far as London.\nBesides, what Austria and Germany\ndo in Theatres is not half as important\nas the good 44 Observer\" seems to\nthink. If there is space that needs fill-\ning, we know of a good number of peo-\nple who could make that space glitter.\nThere is much being done in the\nEuropean and American Theatre week\nby week; but, strange as this may\nsound to some ears, it is not always\nto be found inside a playhouse.\nFor example, a book now and\nagain appears which does more to\nadvance the European Theatre than\ntwo years of energetic acting and pro-\nducing will do. Yet we hear nothing\nof this book,... or next to nothing. A\nfoolish conference is held, and it is re-\nported gravely. Or a new society for-\nmed, and reported as gravely. No dis-\ncernment is shown by the reports\ntwixt what is of value and what worth-\nless. This is a pity and a great waste\nof valuable space, time and money.\n11 Observer n will pardon this pre-\nsumption from the smallest serious paper\non earth to the largest and most im-\nportant;... but it is w The Mask's *\nspeciality, this little matter of Thea-\ntres. Like all specialists it thinks it\nknows. Who knows,... perhaps it may."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c079", "article_bluemountain": "bmtnaau_1925-10_01#c079", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "52", "page_fin": "52", "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=bmtnaau192510-01.2.16.5", "titre_corps": "VENEZIA AND PROGRESS", "titre_sommaire": "VENEZIA AND PROGRESS", "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": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 3388, "texte": "VENEZIA AND PROGRESS.\nTO judge from some recent articles\nin 44 The Manchester Guardian **\nand 44 The Daily Telegraph \" people\ndo not seem to realize in England that\nItaly is not a Museum or a Theatre,\nand that its Cities, however superb,\nhave no wish to crumble just to oblige\nthe tourists and the archeologists.\nItaly looks on it that life comes\nfirst, and all the rest comes after.\nAnd if electric motors are to be\nof any aid towards bringing to life\npart of Venezia or of any other city in\nItaly, what sort of being is it that will\ncry out about this? Venezia and the\ncities of Italy are not for him, they\nare for those who live and work and\ndie there.\n44 The Mask \" is all for the Arts.\nYou know that, we think. But only\nfor Art which comes along because a\npeople is alive. When a city is dead,\na nation drugged, a continent dulled,\nArt had better wait awhile in that\ncity, nation or continent.\nTrue, perhaps, that around some\ncities (did the Italian nation wish it)\na wall or a line might be drawn with\norders given that it was too good an\nexample of ancient work to be dis-\nturbed. Such a place might be roped\noff and put apart as a National Mo-\nnument, and outside its walls a new\ncity built. Inside its walls the very\nplainest but cleanest accommodation\nmight be provided for all who wished\nto study and work there in the monu-\nment, as in a vast Biblioteca, and\nspecial permissions granted to such on\nthat understanding. We have often\nfelt that cities like Venezia or San Gi-\nmignano might well be reserved for\nsuch a purpose.\nBut if the cities must be used, and\nmust be brought up to date, why not?\nWhere is Shakespeare's, Bacon's and\nElizabeth's London ? Has the loss of\nthat particular place (and lost it is)\nbeen no gain ? And if Titian's, Tie-\npolo's and the Doges* Venezia should\npass, where would be the loss ? To\nus, yes; to you, yes, to many thou-\nsands yes, ....but to many millions,\nprobably no. What use in architecture\nfor which the millions of people have no\ncare, which new laws no longer love ?\nGondolas are pretty boats, and to\nglide is sometimes a pleasant necessity,\nand a canal is not always as bad as\nit seems. But, since Shakespeare's Plays\nare not valued by us, Englishmen had\nbetter, we think, pause before too has-\ntily criticizing their Venetian friends.\nHow comes it that we English\ncriticize ?\nIs it just because we somehow be-\nlieve Venezia to belong to us, ....to be\nour honeymoon spot, our playground.\nAnd what are we ? a nation of\npeople more forward than any in prai-\nsing speed, electricity, cinema, liste-\nning-in ; ....and we quickly produce a\nmillion pounds if promised a safe in-\nvestment in something up-to-date and\na curse to everyone.\nIn Manchester we weakly give over\na poor cheap little National Theatre\nto a Cinema firm : with a lot of word\nprotest yet without real resistence, we\nyield it up; yet we have the audacity\nto tell Venezia from Manchester to keep\nitself unspotted from the monopoly for\nthe supply of motors.\nPrivate enterprise could have saved\nfor Manchester its Theatre Royal; and\nhad the 44 Manchester Guardian \" spo-\nken with the spirit it so often shows\nin other matters, (ie, in money matters)\nno commonplace motor-driven cinema\ncould have come into the Theatre\nRoyal.\nWhen Manchester can save one\nTheatre, and a grand old place like the\nTheatre Royal, it will be quite time\nenough for Manchester to lecture Ve-\nnezia."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c080", "article_bluemountain": "bmtnaau_1925-10_01#c080", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "52", "page_fin": "52", "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=bmtnaau192510-01.2.16.6", "titre_corps": "AS OTHERS SEE ....LONDON", "titre_sommaire": "AS OTHERS SEE ....LONDON", "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": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.58", "debut_caractere": 3390, "fin_caractere_exclue": 6831, "texte": "AS OTHERS SEE ....LONDON.\nJ. S.\nCAN anyone tell us what caused\nSir Alfred Butt or the Drury\nLane Committee to piace Mr Basil\nDean at the head of Drury Lane\nTheatre ?\nAccording to George Jean Nathan\nof New York, Dean would seem to\nbe a man of very- small talent, as\nthe following passage from an article\nin 44 The American Mercury \" will\nshow. Dean has been over in New\nYork producing plays. We want to\nsee a man put into Drury Lane who\nhas no time to go to New York or\nNewhaven to produce anything.\nNathan says that 44 It is not James\n44 Elroy Flecker's 44 Hassan \" that has\n44 failed, it is Mr Basil Dean's. Flecker\n44 wrote a play rich in the music of\n44 romance and poesy, as beautiful a\n44 thing of its kind as has appeared\n44 in recent dramatic literature; Dean\n44 staged it with all the imagination\n44 and rhythm of a sailor's smoker.\n44 The production, indeed, served as a\n44 piquant example of the low level to\n44 which the English stage, in this\n44 respect, has sunk. Dean is regarded\n44 as one of the best and most artistic\n44 of London producers, Over here,\n44 they do finer work up alleys.\n44 I have passed an eye over seven\n44 or eight of Dean's productions, three\n44 in New York and the others in\n44 England. All of them have been\n44 drolly incompetent. Not only has\n44 the gentleman apparently no sense of\n44 the dramatic, not only is he seeming-\n44 ly quite innocent of the technic of\n44 projecting a manuscript over the\n44 footlights, but he is, to boot, utterly\n44 without a sense of beauty and a\n44 sense of form. His ideas of scenic\n44 investiture go back to the day when\n44 furniture was painted on the back-\n44 drop and when a 4 big production *\n44 was any one in which the stage\n44 was so packed and crowded with\n44 scenery and irrelevant but costly\n44 props that the actors had to make\n44 their entrances from the wings side-\n44 ways. His ideas of lighting are so\n44 absurdly antiquated that even some\n44 of the most patriotic London re-\n44 viewers have difficulty in concealing\n44 their derisory hiccups. For Dean\n44 appears to believe that all that is\n44 necessary to achieve some exception-\n44 ally nobby illumination effects are\n44 a half dozen vari coloured gelatine\n44 slides supplemented by an indefati-\n44 gable fellow stationed at the dimmer.\n44 He sought to evolve mystery with\n44 a mere blue light and romance with\n44 a pink one. In the matter of dra-\n44 matic suggestion, he was equally\n44 unhappy. His scenes of melodrama\n44 were painstakingly languid ; his scenes\n44 of physical passion, as, for exam-\n44 pie, the one wherein the fair Yasmin\n44 conquers the flesh of Hassan, were\n44 as sexual as playing postoffice.\n44 Thus was a beautiful poem with\n44 its beautiful incidental music of Fre-\n44 derick Delius and with all its poten-\n44 tial stage wonder reduced to no-\n44 thing \".\nThis comes of being possessed of an\nability to push into Drury Lane with-\nout credentials. This comes of dis-\nhonest theatrical Criticism.\nLondon is slowly being made a\nlaughing stock by this sort of thing,\nand it is time the London Press said\nso clearly.\nUnfortunately Walkley, Archer,\nGrein and a few others do nothing to\nimprove matters. They either are cy-\nnical about our stage or gush about\nits worst elements. Not that Walkley\nor Archer err about playwrights; but\nto Theatricals they are sense-blind.\nGrein is not blind; he is merely ut-\nterly unfitted for a responsible positiou\nas a critic of our English Theatre."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c081", "article_bluemountain": "bmtnaau_1925-10_01#c081", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "160", "image_debut": 59, "image_fin": 72, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.2.17", "titre_corps": "ON A DESIGN BY SANGALLO AN INTERNATIONAL SYMPOSIUM", "titre_sommaire": "ON A DESIGN BY SANGALLO AN INTERNATIONAL SYMPOSIUM", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.59", "debut_caractere": 23, "fin_caractere_exclue": 1201, "texte": "ON A DESIGN BY SANGALLO\nAN INTERNATIONAL SYMPOSIUM.\n\nIN our last two Symposiums we invited the Actors, Managers and\nCritics to the table. This time we invite the Architects, Designers\nand Scholars.\nThey are more bashful and so respond with rather less rapidity\nthan did the performers and the critics. But we believe that the few\nanswers will prove of considerable interest to our readers, all of whom\ncan suggest solutions to the difficult problem for themselves.\nWe think that most of the writers have come to a solution\nbut for us the matter still remains unsolved.\nA PRELIMINARY NOTE ABOUT THE DESIGN.\nTHIS design is by Antonio San Gallo the Younger (1485-1546) and is\nreproduced for the first time from the original drawing in the Uffizi Library\nin Firenze.\nI It is for a Theatre, showing the stage, scene and spectators seats.\nThe special thing which has concerned the artist is a revolving triangular scene for\neach side of the stage.\nWhat exactly was this scene to do or what it do. It looks to us like\na bit of a puzzle, and for this reason interesting.\nWas the triangular scene raised up above the ospitii or rooms ? Was it behind\nthem ? If behind, where did it show ?"}, {"page_pdf": 60, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 2836, "texte": "Was the front side of the Ospitii a transparency ?\nOr was there hung a square of cloth in front of the two top portions of the\nospitii which, when raised, revealed which ever side of the triangle was turned to\nfit the opening left exposed ?\nThe square opening indicated on the left side of the scene suggests the later notion.\nThe date of the drawing, about 1515 to 1530, makes it worth while studying.\nFor Palladio was but born in 1518 dying in 1580 and did not erect his\nfirst stage until 1565, and not till 1 545 did Serlio's second Book of Architecture appear\nwith its scenic section : only in 1 539 did he build his wooden Theatre in Vicenza.\nThis San Gallo (for there were six in all) is supposed to have assisted Raf-\nfaello and Bramante, both of whom concerned themselves with the questions of scenes,\nmachines and stages. Is this perhaps some record of Raffaello's work in Rome ?\nAmong San Gallo's contemporaries in scenic work were Peruzzi, Aristotile,\nGenga and Pericoli.\nVitruvio's book had appeared for the first time about 1486—one year after\nSan Gallo's birth : so this is an early document. Miss Campbell in her admirable\nbook \" Scenes and Machines \" (1923) does not mention it or its designer.\nScholars and artists will note several interesting points besides the two revolving\ntriangular scenes.\nWE therefore put the following questions :\n1. How were these triangular side scenes used ?\n2. Can anyone say for what play ?\n3. Were there but three scenes on each triangle or were others attached as\nthe play progressed,—ie. a new one for each \" ascione \" or \"action\" or scene?\n4. Is this the artist's sketch for work to be done, or is it a record by the artist\nof work he had seen done ?\nBesides answers to these questions we invited any additional information or\nsupposition no matter how extravagant. Without dashing in with a guess or two,\nhow arrive at any solution of what seems to be one of the most interesting\nexamples of the use of triangular side scenes.\nWE also felt it would be of interest to other students if one or two answers could be\ngiven on the following points :—\n(IB) What were the ospiiii and why so called ?\n(2B) Why was the place for the spectators called Teatro and not the whole building?\n(3B) What is the foro and why on the plan does it take such space? How was it!\nused ?\n(4B) Have we aula regia correctly translated ? was it a fixed scene fit for tragedy ? —\nor what was it ?\nTHE ANSWERS.\nBRUNO BRUNELL1. (Cortina d'Ampezzo).\n1. I hold that the triangular \"machine \"\n~~ geared behind the \" ospitii \" through an\nrture which was opened every time the\nHb. \\\naction required it, as appears from the perspec-\ntive drawing of the stage right hand side. The\nposition in which the \" macchina \" appears\non the left side must be a schematic simpli-\nfication to make plain, by means of the draw-\n\nJ. S."}, {"page_pdf": 61, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4143, "texte": "ing, where it was to be inserted: it must\nhave been supported by a pivot at the height\nof the first piano of the \" ospitii \". It cor-\nresponds in this sense also with the other de-\nsign in the ground-plan, at the left side of\nthe stage (a triangle set in a square).\n2. 1 believe it is impossible. At the\nvery most the indication of the \" aula regia \"\nmay lead us to presume that it served for a\ntragedy.\n3. It is probable that only three scenes\nwere painted, as it is indicated that the\n\" macchina \" served for each \" ascione \" or\nscene.\n4. The notes which accompany the de-\nsign lead rather to the supposition that these\nwere jottings made by Sangallo subsequent\nto some performance at which he had been\npresent.\nIB. The \" ospitii \" seem here like small\nstages ( palcoscenici) upon which took place\nazioni complimentary to the principal azione ;\nperhaps allegorical azioni. Elsev/here, on\nthe contrary, (for example in the illustrations\nof an edition of Terenzio which 1 have in\nmy library, but have not the possibility of\nconsulting here) they appear rather as pal-\nchetti, platforms, reserved for honoured guests.\n2B. The \" aula regia \" in tragic plays\nwas the part of the stage reserved to the\npersonages of royal lineage : it is also a remin-\nder of the Greek theatre, which had the\nporta regia in the permanent scene—a thing\nwhich the classic theatre often reproduced\namong us ; (see the Teatro Olimpico).\nThe back of the stage was, on the con-\ntrary, reserved for the populace, and the\nrepresentation for which this stage served left\nevidently a large part to the masses.\nJOHN MASEFIELD. (OxfoTd).\n1. They revolved upon some central pole,\nlike the merry-go-round. I made a little mo-\ndel to prove this. You can get charming\naffects by such means. The scene at the\nback may have remained the same, or may\nlave been changed by simply raising and\ndropping, in the usual way.\n2. No doubt someone can, and will.\n3. There is no limit to Italian invention:\n3r other genius.\n4. Artist s jottings of something very good\nwhich he could do better, or thought he could.\n1 B. Tiring chambers, which looked like\nbuildings, and were used as such when the\nplay demanded.\n2 B. The spectators \" go to the theatre \",\nthe actors to the stage.\n3 B. All magnificence should be ample,\nThis was the setting for the plays of the con-\ntemporaries of Michael Angelo, who were\nmuch concerned with the right use of space,\nor as they called it, \" with the art of de-\n»#\nsign.\n4 B.... ?\nFRANCOIS M. FLORIAN. (Lucerne).\nMy dear Mr John Semar,—you ask too\nmuch. You would like me to make a fool\nof myself or a historian, or a pedant. Do\nhonour to the imagination of man or at least\nto his fancy, and do not ask us to be lear~\nned about what no one can know. Our fancy\nis so nimble you know.\n1 have no doubt that this good Antonio\nSan Gallo scribbled down hundreds of such\nlittle notions as the one in your design. Raf-\nfaello did the same. Aristotle San Gallo,\nAntonio s father or uncle or nephew (what\nmatter which) did the same. Peruzzi, Sab-\nbattini, Chiaramonte, Bramante, Genga- (see\nwhat a lot of names I know), Pericolo (molto!)\nLa Cecca (ah), Lancia, Buontalenti, Baldi\nProfondavalle ....how many thousands of such\nlittle sketches aod scribblings must they have\nlet fly from their wrists into the air. Where\nare they all now ? Still flying in the air ? I\nsuspect! How catch them all, get them all\ninto their right order again? ...!and once in\norder how then fill in those gaps which\nthe men when living talked, filling in with a\nword or two here, a word or two there.\nTo rebuild an old wall exactly as it was\nyou have to collect all the old stones. Col-\nlect them then if you can ....but don't forget\nthe mortar or whatever else served to join\nthem. And when putting them together try\nto get them each in his old place, so as to\nget the wall to look as it really looked. Then\ngive 150 years of time and may be you'll\nrecover the old beauty.\nBut have you ever yet seen this done, or\nhave you perhaps seen a picture of it ? I fear\nthat's all you can ever see or hope to see,\nI fear you can never reconstruct an old wall\nprecisely as it was and as for an old idea,"}, {"page_pdf": 62, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 4235, "texte": "you need a lot of humbug to join its dis-\njointed notions, as the bricks need a lot of\nold mortar.\nAh what folly your pretty plan exposes.\nYou solemnly set out to ask twenty or thirty\nwise men to explain what is beyond explana-\ntion, to reconstruct, plus common sense, this\nfunny notion by the good Antonio. And the\nten or twelve will respond—solemnly: and\nyou will as solemnly print their \" conclu-\nsions \".\nBut you have done a good thing through\nyour folly. You have once again proved how\nimportant it is that artists of 1925 shall create\nafresh, shall go ahead, do any wild thing,\nmad thing, rather than that maddest of things,\nreconstruct.\nYou have made it clear for the hundredth\ntime, that to waste time wondering what it\nwas they did in 1525 or 1825 may be a\ngood waste of second rate time, but is an\nabominable waste of first rate time. First\nrate time is the day, the hour, the moment\nof the artist. Waste him and his hours and\nmoments, and you and your nation are playing\nthe fool. He is nimble and he is gifted by\nthe Gods, and you run a grave risk in not\nasking him to be himself, to invent ever new-\ner things for everyone. Let him remain\nyoung since he has a young mind and spirit *,\nlet him go ahead; let him sow seed; let\nhim amuse himself that way since he enjoys it.\nEncourage that in him—and reap the harvest.\nAnd now as I shall be in Koln next week\nI shall go and study for a few days at the Thea-\ntrewissenschaft Institute at their University—\nfor 1 very much doubt the entire truth of\nwhat I have written here.— Perhaps a little\nsuffering in the Institute will make it clearer.\n° W. R. LETHABY. (London). O\nForo I suppose was the Roman Forum,\nAula Regia was rather the Basilica or Pu-\nblic Hall in the Forum than a Royal Palace.\n1 suppose spectators looked through the Ba-\nsilica into the Forum beyond. It would seem\nto have been a classical Roman play in which\n\" the Gods \" appear.\nMay not the hospitalia be Inns ? A Ro-\nman theatre was a semicircle with a scene,\nin adopting the word in the middle ages\nthe curved part may have been the theatre\nproper. The opitio (?) on left seems to have\nan open room ( camera) on upper floor and\ntwo windows on exterior below; also door\nbelow on left of centre. The right hand one\nhas two external windows in each floor. The\nbig flag-like thing 1 suppose is one side of\ntriangular revolving scenes: similar one shown\nsmaller on right in position ? That is raised\nhigh ? Three scenes on revolving triangular\nframes are well known. They allowed three\neasy changes and possibly more if loose pain-\ntings were hung up over the first lot.\n0 GORDON CRAIG. (Genova)~o\n1. I haven't the faintest idea—and I shall\nbe very surprised if anyone else is able to\nspeak with authority. It is the only drawing\n1 know of where triangles are used\nanother scene.... for obviously they revolved\ninside those side ospitiishowing though the\nupper part of the face of the side scenes.\nBut everyone can see this : — I can suggest\nnothing new. A god or a saint appears sur-\nrounded by clouds and seraphs as in the„old\nbox of tricks revealed by Furtenbach, Padre\nBrueil and others.\n3. If a thing can go round like this trian-\ngular affair it certainly would tempt many a\nscenic man to make use of the fact and put\nnew scenes on it on each revolution. — but\nItalians of that day wouldn't.\n4. I think it is a record of something seen\non a stage,—the sketchy drawing suggests\nthis and the artist's notes make it more\nevident\n1 B. What are \" Ospitii \" ? I have no\nnotion ....places for the actors to wait and\nrecover in ?\n2B. Teatro was a place to see a show\nin and a semicircle seems to have been pro-\nved best for seeing from—whereas a full cir-\ncle or an oval was best for hearing in and\nan Odeo was made so.\n3 B. This Foro has always puzzled me, and\nI have come across no explanation which is at\nall illuminating. Was it a place built out in\nfalse perspectives—built of thin wood and\nplaster and not to be approached by the per-\nformers, ....not a \" practicabile \" ? I imagine so.\nThe spectators in those days, were but only\nprinces and men of taste, but were by no means\nprejudiced against a bit vof unnecessary sce-\nnery. The acting and singing were perfect,\n— had to be — so if Raffaello, Peruzzi or"}, {"page_pdf": 63, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 4234, "texte": "San Galio wished to build up some imitation\nForums or Palaces, why not ? No one would\nnote them beyond their worth. No one would\nfail to note them and their worth. A per-\nformance was then looked on as a delight, to\nsee and to hear.\nNot display, either in voice or trappings,\nbut style was the thing. The critics praised\nthe first rate in terms of the first rate,—and\nDemocracy had not at that time made itself\nunsafe for the whole world.\nHORACE WYNDHAM. (\n1. Possibly as a \" strong post \", behind\nwhich an inferior company of players might\ntake shelter from angry critics and disappoin-\nted members of the audience.\n2. This looks to me like an ambitious ef-\nfort to dramatise one of the earlier books of\nEuclid, as a \" Great Triangular Drama \" or\n\" Problem Play\n3. This depends. Really economical ma-\nnagers would probably have only one scene\nthroughout, labelling each act \" the same\n4. Probably a sketch for work which the\nartist hoped he would persuade an adventu-\nrous manager to produce.\nALFRED MORTIER. (Paris).\nThe drawing or sketch which you attri-\nbute to Antonio di San Gallo has very much\ninterested me. Here are the thoughts that it\nhas suggested to me.\nLet us first examine the manuscript text,\nwhich accompanies the sketch. On certain\npoints my interpretation differs from yours.\nInstead of facivevano I read facieoano. But\nthat is unimportant, the sense remaining the\nsame. Instead .of \" come dicie di tre\nsorte \" which you translate exactly by \" as I\nsaid of three kinds \", I propose to read: si\nfacieva varii adornamenti comedici e di tre\nsorte.\nComedici is an ancient word, which has\ndisappeared from the Italian language, but\nwhich is derived in direct line from the La-\ntin comoedicus and signifies \" relative to the\ncomedy \".\nThe sense which I propose seems to me\nclearer, more accurate and more plausible.\nWill you note, in fact, that the version \" come\ndicie\" (as I said) relates to nothing, since\nSan Gallo has not spoken at all before of\nthree sorts of ornaments (1).\n\" Secondo la materia \" signifies quite\nobviously \" according to the material of the\ncomedy \"; that is to say, according to the\ndecorative requirements necessitated by the\nsubject of the piece, according to the scene,\nthe place, where the action passes ; and can\nsignify, in addition, according to the nature\nof the subject-matter, for you are not una-\nware that there were already, at the time of\nBaldassare Peruzzi, three types of decors, di-\nstinguished, one from another, as the comic,\nthe tragic, and the satiric or pastoral.\nFinally, you translate \" aula regia \" by\n\" Royal palace which seems to me not\nvery exact, and which could lead the stu-\ndent into error. The aula is, originally, an\ninterior court yard usually surrounded by co-\nlumned porticoes. If you look attentively, on\nSan Gallo's sketch, at the part which I have\ndesignated on my plan by the letters M and\nN, (2) you will see that, in M especially,\nSan Gallo has slighty indicated some co-\nlumns standing out from the facade of the\nbuilding and consequently forming a portico.\nAnd, at the foot of these columns, he has\nwritten in \" aula regia \", thus clearly in-\ndicating that this part of the scene, bordered\nby colonnades on the two sides of the stage,\nconstituted the aula, or royal court flanked\nby palaces.\nFurther on, beyond the aula, is seen the\nperspective of the scene which San Gallo calls\nthe Foro. Here an alternative presents itself:\nmust we understand by Foro any public place\nwhatsoever, or more especially the Roman\nForum ?\nThe question is of importance. Were it\na matter of the Roman Forum, that would\nlocalize the researches and permit us to de-\nduce that this scene was destined for a play\nthe action of which was laid at Rome. From\n1510 to 1530 these pieces are not numerous;\nI for my part know only the \" Amicizia \"\nof Jacopo Nardi, and the \" Tullia \", a tra-\ngedy by Lodovico Martelli, whose action\ntakes place at Rome. Later, in 1546, there\nis the Orazia by the Aretine and, before that,\n\n(!) An Italian scholar tells us that the leaflet we re-\nproduced evidently followed on from something else, as it\nbegan in the middle of a sentence; so there is no know-\ning what may have preceded. (Editor).\n(2) As in our \" key \" plan. See Plate 12. (Editor)."}, {"page_pdf": 64, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 4551, "texte": "in 1542, the Talanta by the same author;\nbut the scene of the Talanta was constructed\nand painted by Vasari, who speaks of it in\none of his Letters.\nFor these reasons I hold that, by Foro,\nSan Gallo meant to signify some place (pub-\nlic square) whatsoever of a city, showing\nthe vista of its streets and houses, as usually\ndone in his times.\nIn conclusion, it would be also well to\ndefine with exactitude the expression \"ed\nera cosa (or perhaps casa, which would be\nmore precise) posticcia \", which you have\ntranslated by the somewhat vague term of\n\" constructed thing \", but of which the true\nsense would be \" factitious thing that is\nto say a \" chose factice \", which signifies\na house actually constructed. We must not\nin fact forget that, in the earliest days of\nstage scenery,... until 1535 at least,... the pa-\nlaces and houses on the stage were solidly\nconstructed in wood ; it is only later that Ser-\nlio advises replacing the solid wood with can-\nvas painted and fixed upon frames as is still\ndone today.\nSan Gallo takes care, then, to specify\nthat the two lateral \" ospitij \" are not to be\nconstructed, but that they are \" cosa postic-\ncia '*; that is to say, capable of being remo-\nved or replaced easily and at will. (2) That\nis why I consider that you have been right\nto add \" moveable\", and 1 reply to your\npoint of interrogation: *' Yes, Sir, certainly\nmoveable \".\nWhy \" moveable \" ? For a very simple\nreason; which is that, after the death of Gi-\nrolamo Genga, his pupil Baldassare Lancia\nor Lanci of Urbino (1510-1571), and also\nAristotile di San Gallo who was — let us note\nthis important detail—the uncle of our An-\ntonio di San Gallo, began to establish gira-\nting scenery decors.\nThe \" Ospitij \" of which San Gallo\nspeaks are thus made of painted canvas fixed\nup on frameworks, and consequently light and\neasily \" moveable \", so as to obtain some\n\" changements a vue \".\nIn his treaty on \" Perspettiva pratica \"\n(Roma, Mascardi 1644) on page 91, Jacopo\nBarozzi da Vignola speaks at length, and\ngives a design, of the system of the -\nments a vue. And, like our San Gallo, he\ndescribes the triangular apparatus used to\nthis end, turning on a central pivot.\nHe recalls (2) his memories: at Castro, at\nthe Duke Pierluigi Farnese's, the scene changed\ntwice, and was constructed by Aristotile di\nSan Gallo. At Florence, likewise, in 1569,\nat the \" Palazzo ducale \" the scene changed\nseveral times, and the decors were made by\nBaldassare Lanci d' Urbino, of whom I have\nspoken above.\nLet us note in regard to this an interesting\ndetail. Towards 1542 Aristotile di San Gallo,\nwithout employment, goes to Roma to his\nnephew Antonio di San Gallo, to seek work;\nfor Antonio held a good position there in\ndecoration and architecture. It is in the fol-\nlowing year (3) that Aristotile repairs to Castro\nto execute the rotating scenery of which I\nhave spoken above. It is possible that the\nnephew may have shown the uncle his draw-\nings and his ideas about the girating scene.\n5|C *\nLet us now examine attentively the sketch\nof Antonio di San Gallo.\nThe drawing A presents no difficulty.\nIt is a prismatic chassis (framework), a prism\nturning on a pivot. According to Barozzi da\nVignola, each face of the prism was painted\nwith a different subject or view. Here it\nseems that each face of the prism may have\nbeen surrounded by a frame, and that it had\nsome slight depth, so as to afford place for\none or more actors ; in short, a veritable little\nscene, and not merely a flat painted surface.\nIn fact, in his commentary, San Gallo says :\n\" Perche in ogni facia a varij li efetti doe in\nuna Vaparitione delli dei etc....\nIf an apparition, god, goddess or phantom,\ncan find place there, that means that the little\nscene has depth; but necessarily a very re-\nstricted depth, on account of the other faces\nof the prism. That matters little however,\n\n(1) Opere di Vasari, Firenze, 1882 pg. 284).\n(2) Serlio expressly says that the ospizia were origi-\nnally of massive wood, and they were such in 1513 at\nUrbino for the Calandria, the decor of which was made\nby Gerolamo Genga. (Editor).\n(1) In our copy only A triangular affair is described*\nNot this one. Another sort altogether. {Editor).\n(2) We are under the impression that it is Dr Ignazio\nDante, the commentator of Vignola, who remembered and\nrecords these two performances. His edition of Vignola\nappeared in Rome for the first time in 1583, followed by\n4 later editions in 1602, 1611, 1683 (Bologna) and 1743.\n(Venezia). See Haym 1773. {Editor).\n(3) Letter of Claudio Tolomei of June 27 1543."}, {"page_pdf": 65, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 4283, "texte": "for an apparition generally remains motionless\nand does not need much space as do the\nactors who come and go. Thus the prismatic\nscene suffices perfectly for its function.\nWe now come to the enigmatic question\nof the manoeuvring of the apparatus.\nThis is my interpretation, founded not\nupon hypotheses but solely on the most care-\nful examination of the San Gallo design of\nwhich you have failed to perceive an impor-\ntant detail, which to my mind illumines the\nwhole working. (I)\nAt the outset and normally the \" ospitij\nare free, because they serve as coulisses for\nthe actors who come on or go off the stage.\nWe have seen this system practised in our\ndays by Max Reinhardt(2>, who, having sup-\npressed the ancient portants forming a coulisse,\nreplaced them by some constructions, not\nsuspecting, probably, that his intended novelty\nwas some centuries old.\nBut here it is that, owing to the exigencies\nof the drama or action (per ascione), the\nmachinist wishes to utilize the macchina (fi-\ngure H) (3) or prismatic apparatus.\nFor the moment this \" macchina \" is si-\ntuated in what we call the \" cintres \" of the\ntheatre, or, to be clearer, in the upper struc-\nture, that high part invisible to the spectators.\nThis upper part of the theatre was perfectly\nadapted for the preparation up there of all\nthat was required. Barozzi da Vignola(4)\n(op. cit. p. 91) relates that he has seen the\nsky open and that \" there appeared in the\nair a great number of men in the form of\ngods, who sang and played a delicious music,\nand at the same time a cloud descended\nunder their feet, which covered in the whole\nscene \".\nConsequently the \" macchina \" H was, if\nnecessary, equipped with its scenery up there.\nThe inspires\ntrust and diffuses an encouraging serenity which\nsays very little and does very much.\nRaffaello Calzini.\nENGLISH ACTORS AND ITALIAN.\nSOME time back, while carrying out for my\npaper (I) an enquiry into the conditions\nof the dramatic theatre in the principal nations\nof Europe, I had the opportunity, during a\nbrief stay which I made in London, to com-\npare the English actor, with whom I was\nwholly unacquainted, with the Italian actor,\nall of whose good qualities and all of whose\ndefects I know thoroughly well. I have not\nbeen able to pursue my studies in this matter\nvery deeply. Hence I am the first to recog-\nnize that, in speaking of the English actor,\nI shall not be able to pass any judgments,\nbut merely to give my \" impressions \", leaving\nto the reader, more expert than I, the task\nof correcting my probable errors.\nThe English actor has above all a \" style\nwhich the Italian actor lacks. He seems to\nignore the genial improvisations which are the\nnatural product of a nature extraordinarily\nsubject to the gusts alike of the true and of\nthe false passions. The lack of \" dramatic\ntemperament \" which, according to us people\nof the south, is inherent in the English race,\nmakes itself felt also in the theatre. It is thus I\nexplain how it is that the English actor, who\nseemed to me excellent in acting comedy,\nfarce, pantomime and classic tragedy, appeared\nto me somewhat cold, colourless, and meagre\nin expression in the interpretation of the\nmodern drama. But this defect is also con-\ntributed to by the \" School \", which I believe\nis a \" high school \" for all, and which perhaps\nderives from the special social education\n.pertaining to certain classes of the English\nnation. The dress, the bearing, the gesture,\nthe tone of voice, of the leading actor and\nof the leading actress are not noticeably\ndistinguishable from those of the lowest super\nwho comes to the front of the stage to speak\nthe single line of ten words which constitutes\nhis whole part.\nA correct, measured, easy naturalness, the\nmechanical foundation of which only the\nmediocre actors disclose, while the better\nones know how marvellously to conceal every\ntrace of study and of effort, constitutes exactly,\nin my opinion, the \" style \"of the English\nactor. It is not the disordered, unequal and\nfrequently even discordant spontaneity of the\nItalian actor, and it is not the elegant but man-\nnered stylization of the French actor. It is a\nquid medium between these two extremes.\nCertainly, on the English stages, bad actors\nare also to be met with; but some small degree\nof style exists equally in all, be they good or\nbad :—a sign that all obey one and the same\nrule.\nI have also noted, (and whoever knows\nthe habits of the Italian actor will not be\nsurprised by this observation of mine) that all\n\n(1) 14 Comoedia *\\ a fortnightly illustrated Journal of\nthe Theatre, Milano."}, {"page_pdf": 74, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.74", "debut_caractere": 0, "fin_caractere_exclue": 3195, "texte": "keep themselves strictly within the limits of\nthe part assigned to them. The perfect sub-\ndivision of work, which characterizes the\nEnglish people in other fields and which\nconstitutes its great strength, is evidently\nobserved also upon the stage.\nGive an Italian actor of some merit a part,\nbe it but of modest dimensions, in which he\nhas the opportunity of displaying his own\npowers, and, at the opportune moment, (which\nis almost always inopportune) you will see\nhim seek by every means to attract to\nhimself the attention of the public, usurping,\nfor a moment or so, the place of the leading\nactor and creating for his own personage,\nhowever insignificant it be, the illusion of\nbeing for that moment the protagonist of the\ndrama.\nIt does not, on the contrary, seem to me\nto be one of the habits of the English actor\nto overcharge or distort his part for love of\ntheatrical effect. I did not chance, for example,\nat the entrance alone upon the stage of a\nleading actress, to see that which is normal\nin Italy,—an emptiness, a truly \" splendid iso-\nlation left around her instantly as though\nshe were suddenly mounted upon a pedestal\nand the others were but poor pigmies at her\nfeet.\nIn yet stronger contrast with this correct\ndiscipline, and with the measured naturalness\nto which I have referred already, are the\nexcesses, exorbitant even for us who know\nthe volcanic dramaticity of Grasso and the\nclamorous comicality of Musco and of Petro-\nlini, to which the English actors attain in the\ndrama of adventure of the type of that \" Good\nLuck \" which was represented during the past\nyear at Drury Lane, and in classic farce, as\nin \" The Merry Wives of Windsor \" which\nat that time was being performed by a Shake-\nspearean company at the Golders Green\nHyppodrome. It was in fact a revelation to\nme to see with how much unrestrained brio\nthere unfolded before my eyes, accustomed to\nthe timid—(timid through a too great respect) —\nItalian interpretations of the same comedy, the\ngay adventures which set forth the Garter Inn,\nthe streets, and Windsor Park (l). A work\nwhich I had until the previous day considered\narchaic appeared to me all at once as extraor-\ndinarily alive, thanks to the overpowering and\nbroad comicality of its interpreters. In like\nmanner as the English actors adopt this spe-\ncial method in the classic farce of Shake-\nspeare does the Italian actor change in style,\nin manners, in customs, when he acts Goldoni.\nIn conclusion, I consider that our Italian\ntheatre lacks a good scuola di plotone, while\nthe English theatre would perhaps be benefitted\nby a course of individual exercises.\nThe Italian actor can boast a greater\nwealth of natural gifts, a greater ductility and\nelasticity of talent, a more sensitive and im-\npassioned nature. The English actor can\nboast in his turn the superiority which derives\nfrom a disciplined study, from a more cons-\ncientious respect for his art; and, above all,\nfrom the habit of reciting without a prompter\nwhich gives him an extraordinary mastery of\nhimself and of his own resources.\n\n(1) Until Miss Ellen Terry came to show English\nactors how to unloose the comedy and make it alive it\nhad been just as timid in our land. (Editor)."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c090", "article_bluemountain": "bmtnaau_1925-10_01#c090", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "image_debut": 74, "image_fin": 74, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.2.21", "titre_corps": "THE PROMPTER", "titre_sommaire": "THE PROMPTER", "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": 74, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.74", "debut_caractere": 3197, "fin_caractere_exclue": 4358, "texte": "THE PROMPTER\nE. G. C.\nIT may slrike Italian students of the Theatre as strange\nthat my appreciation of the work done by the Italian\nPrompter has increased not lessened.\nI remember once listening to an early rehearsal of an\nItalian Company. I heard the Prompter giving each word.\n\" Then it comes automatically and easily into the ear of\nthe actor \" I thought; \" what a blessing! He has not\nto think ; — all he needs to do is to feel. What a release\nfrom an incubus I thought. Hamlet is there on the\nstage. The ghost appears. He does not know what he\nwill say — and slowly his ear hears the words afar off\nand yet tiny and close in his ear. Angels and ministers\nof grace.... defend us.... why, it is one of the great\nblessings of the Italian stage; it was an inspiration on the\npart of who ever first thought to invent this Prompter.\nDoubtless it was the Dramatic Poet who was the first\nPrompter — and I see no reason why he should not\ncontinue to perform this part of his task.\nAnd this — this wonderful aid to spontaneity — is the\nfigure il Gran Signor Pirandello and others will have\nremoved, so as to save the stage !\n\" Angels and ministers of grace defend us"}]}, {"article_id": "bm-bmtnaau-1925-10-01-c092", "article_bluemountain": "bmtnaau_1925-10_01#c092", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "166", "image_debut": 75, "image_fin": 78, "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=bmtnaau192510-01.2.22", "titre_corps": "UNIVERSITIES AND THE DRAMA A REPLY BY PROFESSOR ALLARDYCE NICOLL", "titre_sommaire": "UNIVERSITIES AND THE DRAMA A REPLY BY PROFESSOR ALLARDYCE NICOLL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 4196, "texte": "UNIVERSITIES AND THE DRAMA\nA REPLY BY PROFESSOR ALLARDYCE NICOLL.\nIT is far from my wish to quarrel with the\naims and intentions of The Mask, a pe-\nriodical which I, as everyone who is truly\ninterested in the drama, most heartily admire\nand honour.\nAt the same time, there are three paragraphs\nin the recent (July) number which seem to\nme to demand some comment, the more espe-\ncially as two of them are directly inspired\nby my own article in the last issue.\nI refer to Mr. C. G. Smith's letter on\np. 143, to the Editorial Note,— Drama not\nTheatre—on p. 144, and the other note—\nBritish Opera—on p. 150.\nIn many ways, everyone will agree with\ncertain points raised by Mr. Smith. Undoubt-\nedly \" theatricals \" can be carried too far in\na university, and, moreover, \" theatricals\"\nare not fundamentally theatrical at all. It is\nunquestionably bad for students who have a\nliving to make to be led to imagine that they\nare budding Hamlets, and the inglorious (and,\nbe it whispered, on occasions mute) Hamlets\nof College productions can hardly be said to\nhelp on the work of the drama. So far\nMr. Smith, the writer of the Editorial Note\nand I agree. There come now the further\nassumptions that only \"young gentlemen\" go\nto the University and that there is no use in\nstudying the \" laws \" of drama. In the first\nplace, conditions have vastly changed from the\ntime when Collegio this or Collegio that built\ntheatres for its students in XVIII century\nItaly. I can say from experience that the\nmajority of my students have had to deprive\nthemselves of many things before they could\nattend the College classes and all of them\nhave had to think with due seriousness of\nbread and butter questions when they took\ntheir degrees. Secondly, there seems to be\nsome sort of confusion concerning the vital\nquestion of study of the drama and of the\ntheatre. Why does The Mask print va-\nluable plans of Rome and of Paris? Why\ndoes it present to its readers engravings and\ndrawings of by gone theatres? Why does\nit delve into the musty records of the past?\nBecause Mr. Gordon Craig, one of our most\ndistinguished creative artists, knows that inspi-\nration for future endeavour may come from these\nrecords. Surely this is a task which a University\nmay well perform? By studying intensively the\ndocuments of departed centuries, by collecting\ntogether all available materials, by providing\na centre of information on these subjects a\nUniversity may well make itself an integral\npart of the great body theatric.\nPerhaps my views may be clearer if I set\ndown a concrete instance. At East London\nCollege in the University of London I am\nstarting in October (and I trust Mr. Smith\nwill aid me) a School of Dramatic Study\nand Research. This School will not appeal\nprimarily to ordinary undergraduate students;\nit will not exist for the purpose of '' training\nyoung gentlemen in the crafts of the stage \";\nit will not indulge in amateur theatricals.\nOur appeal will be to the acting pro-\nfession and to the student of the theatre.\nWe shall engage in research work such as is\nso ably presented in the pages of \" The\nMask \".\nWe shall endeavour to make the results of\nthat research available by talking of the va-\nrious periods of dramatic literature (treating\nthe drama as drama and not as poetry), of\nthe theatrical art of past times, of the con-\nceptions of drama in past ages, of the latest\nmovements in the international world of the\nTheatre.\nThe Theatre cannot \"be a little world\nby itself for the Theatre belongs to huma-\nnity, and perhaps the Universities may have\nsomething to give to it which the artistry of\nthe theatre will transmute into gold.\nIn announcing this new School of Drama\nin The Mask, I wish therefore to note that I\ndo not wish to train the \" young gentlemen \"\nstudents to be actors, or scene-painters, or\ncostume-designers, or producers. My aim —\nand this I think should be the aim of all\nUniversity departments of this kind — is to\nprovide a cultural centre which may in its\nown way (however slightly) improve the con-\nditions of the theatrical world. It is only the\nlesser and the unsuccessful artists who cry out\nabout the sanctity of art and the contamina-\ntion of scholarship. Your Leonardo da Vinci"}, {"page_pdf": 76, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.76", "debut_caractere": 0, "fin_caractere_exclue": 4301, "texte": "and your Dante and your Milton never made\nthat mistake.\nWhile amateur theatricals will not be in-\ndulged in at this new centre, revival of un-\nknown works of the past and performance of\nnew works will form part of the activities of\nthe School. If professional actors and actres-\nses, aided by professional artists and produ-\ncers, co-operate, there seems to be no reason\nwhy a University should not provide the\ncentre for an \"experimental\" theatre. The\nordinary theatrical work in London is hope-\nlessly commercialised. Commercialism of a\ngood sort is, of course, not to be despised\nin the stage world; Shakespeare gave us\nHamlet and Moliere gave us Les Femmes\nSaoanles under those conditions. But the\ncommercialism in the theatre of today is not\nof the right sort; it is parasitic and art-quel-\nling.\nSurely then, there is reason to welcome\nany endeavour which strives, not to curb the\nartist, but to give him the opportunity of de-\nveloping and improving his art ?\nWith these general remarks on the Uni-\nversities and the drama, I should like to make\none comment on the British Opera.\nNo one could be more eager to see\nPurcell on the stage than I, yet one must\never remember that art, especially the art of\nthe theatre, is international.\nThe British National Opera Company is\nan endeavour to create for London a centre\nof interpretative artistry such as Berlin and\nVienna and Paris already possess.\nTo limit the B.N.O.C. to the performance\nof all British seems to me unduly\ninsular.\nSurely a National Theatre, if that ever\ncomes into existence, would not refuse to\nplay Ibsen or Moliere or Goldoni any more\nthan a Continental theatre, nationally supported,\nwould refuse to play Shakespeare or Sheridan ?\nI must apologize for occupying so much\nspace in the pages of The Mask. I have\nhad to write at length because I think there\nhave been misconceptions all round, because I\nbelieve that the theatre can thrive only when\nit is regarded by all in an international spirit,\nand because I look confidently to the suppor-\nters of The Mask and to lovers of the theatre\nsuch as Mr. Smith for encouragement and aid\nin my effort to establish a centre for real dra-\nmatic and theatrical study in London.\nMR. C. G. SMITH'S REPLY\nTHE Editor of \" The Mask \", having\ncourteously shown me an advance proof\nof Professor N icoll*s letter relating to my own\nin the last number, enables me to reply with-\nout delay to some of his points and to make,\nif necessary, yet clearer what I then wrote\nregarding \" University and Drama\nProfessor Nicoll announces the imminent\nestablishment of a school for the study of\nthe art of the theatre at the East London\nCollege.\nThis, in some ways, is an excellent plan.\nIt will not, it is true, be able to train actors\nor make artists, but it can ultimately develope\ncriticism and produce critics; and that is\nsomething.\nBut why does Professor Nicoll take ex-\nception to what he calls my \" assumption \"\nthat \" only ' Young gentlemen * go to the Un-\nversity \" ! why does he seem to slight the old\nEnglish notion that young gentlemen have still\nsome sort of claim though gentlemen ? He\nsays that \" conditions have vastly changed \".\nBut surely conditions have never changed,\nnever can change, to such an extent that a\nCollege education will aim, even if at times it\nfail, to make its students anything other or\nless than gentlemen ?\nOur Colleges are, we shall always suppose,\nto lend men, be they by nature boors, ani-\nmals, what you will, a certain manner; nay,\nmore manners.\nThat is what one feels regarding such an\ninstitution as the old Collegio dei Nobili in\nParma: it did lend its students manners, ad-\ndress, a certain polish. And that is definite\ngain. It matters nothing whether the student\nbe poor, of humble parentage, rich or of the\nbluest blood. Every man surely wishes to\nhave fine manners, nor will he object if the\nworld note it. And the old College Theatres\nwere of value in so far as they contributed to-\nwards this end.\nProfessor Nicoll seems to lay great store\nby the fine fact that a student has paid for\nhis own Education; that he has sacrificed\nmany things to do so, and has had to con-\nsider bread and butter questions while doing\nso.\nThat's A1 highly creditable; but itN\ndoesn't in itself constitute any superiority over\nthose less unfortunately equipped. And those"}, {"page_pdf": 77, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 4311, "texte": "who believe it does, might consider the words\nof that ballad by Gilbert the wise .... a Lon-\ndoner and which begins :\nSpurn not the nobly born\nwith love affected\nNor treat with virtuous scorn\nthe well connected.\nHigh rank involves no shame....\nWe boast an equal claim\nWith him of humble name\nto be respected.\nBlue blood.... blue blood.... etc.\nProfessor Nicoll must not imagine that any\nof us undervalue the born democrat and the\nintellectual Bolschevic, but some of us can\nnever be brought nor bring ourselves to under-\nvalue the born gentleman. That is all.\nThe second point in my letter in which\nProfessor Nicoll finds \"some sort of confusion\"\nis that wherein I maintained that the study of\nthe Theatre and the Drama were not quite\nof an equal value to a University man:\nthat, while a little drama was most valuable,\ntheatricals were not particularly so ; were, in\nfact, something of a waste of time and\nmoney. And I added that it was perhaps\nthe Theatres more than the Colleges which\nneeded the millions to endow them with the\npower to study Theatricals: in fact that if\nthey were financially endowed with such po-\nwer it would be rendered unnecessary for Col-\n1 a »\nleges to step in: .... dare I even say, butt in.\nProfessor Nicoll mentions Mr Gordon\nCraig, and by so doing strengthens my argu-\nment.\nMr Craig, says Professor Nicoll, has per-\nsuaded the Editor of \" The Mask \" to pub-\nblish \" valuable plans of Rome and Paris and\npresent its readers with engravings and draw-\nings of bygone Theatres and he is to be\npraised \".\nBut praise is cheap, and soft words butter\nno parsnips\". Is Mr. Craig merely to be\n4 praised ' for his services,... a little sweet\nwind blown upon him.... while Colleges are\nto receive solid support to play at Theatri-\ncals, usurp a position not their own ? Because\nMr Craig is an artist, not a collegiate body,\n(not even a Professor like Herr Max Rein-\nhardt) is he to step aside — be side-step-\nped — ; passed over and denied support while\nthat support is given to Universities and Col-\nleges for the very work he initiated and was\nborn to do ?\nHe it is who wishes to reestablish his\n\" School for the Art of the Theatre and\nis entitled to do so since the whole idea for\nsuch Schools originated with him. It seems\nhowever that Professor Nicoll would prefer to\ndo it for him and is laying his plans to do so.\nNow Professor Nicoll is a most able Pro-\nfessor, and he cannot be blamed because he\nis not an artist. To blame him would be as\nirrational as to blame a man for being born\nwith a silver spoon in his mouth.\nBut for all this it is, I think, the artist\nand not the professor who can be relied on\nbest, to give to the theatre all it needs. And,\nso long as college professors put themselves\nforward to usurp the offices which ought by\nevery right to be filled by artists and theatre\nmen, they continue to do the theatre, regar-\nding which they profess to be solicitous, se-\nrious harm.\nProfessor Nicoll writes in rather too pa-\nthetic a tone. He says he thinks there is\nsurely room for 44 any endeavour which strives\nto give the artist opportunity of developing\nand improving his art \". Which is a fine-\nsounding phrase, but a hollow one when\nexamined.\nThe best way to 44 give the artist oppor-\ntunity \" is to stand out of his light, to set\nfoot in no position which should be his by\nright of birth, endowment and capacity; to\nbring the powers of a trained academic intel-\nligence to bear so as to induce those in power,\nthose with financial control, to afford artist\nfunds to work with and opportunity to work.\nFirst put bur friend Gordon Craig into a\nposition to develope the art he knows so well,\nso that artists can thrive through him: then\nthere will be plenty of room in the outer\ncircle for a hundred professors and their ac-\ntivities.\nBut for the Professors to push forward\ntoday into the theatre and say 44 we can do\nthis , while there is a man who has been\ndoing it for twenty years yet who is still waiting\nfor the power and means to give to others\nthe result of his efforts, is a little too much.\nI wonder how the readers of 44 The Mask \"\nfeel about it ?\nMr Craig has had countless imitators.\nNow one more has to be added to the list,\nas Professor Nicoll, who long ago had his\nown task assigned him, pushes forward to run\nthe Gordon Craig School for the Art of the"}, {"page_pdf": 78, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.78", "debut_caractere": 0, "fin_caractere_exclue": 1026, "texte": "Theatre, calling it \" The London University\nSchool of Dramatic Study and Research \".\nIt is just what Professor Baker did at\nHarvard.\nFor years Craig had projected and called\nfor such a School. Baker, across the Atlantic,\nlooking up from correcting the theses of the\nyoung gentlemen of Harvard, heard and echoed\nhim, and, being quite smart, got it.\nBut Baker's School was what Nicoll's\nSchool will be, .... a Professor's School.\nCraig called for a school for serious crafts-\nmen who should then be drafted into a spe-\ncial, an experimental, Theatre; who should\nstudy practically under artists, not under pro-\nfessors. And, while he still awaits his op-\nportunity, professors parody the whole scheme,\nsquandering endowment money and their own,\nand, I fear, their students', time\nIf I am a little warm in my expressions\nin this note it is that I for one dislike to see\na valuable artist like Craig wasted, while\nevery amateur seems able to push forward,\nelbowing his way into a position which Craig\nrefuses to use elbows to gain."}]}, {"article_id": "bm-bmtnaau-1925-10-01-c094", "article_bluemountain": "bmtnaau_1925-10_01#c094", "volume": "bmtnaau_1925-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "173", "image_debut": 78, "image_fin": 85, "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=bmtnaau192510-01.2.23", "titre_corps": "MEASURED RECITATION A STUDY ON THE POETICAL RHYTHMS OF SPEECH", "titre_sommaire": "MEASURED RECITATION A STUDY ON THE POETICAL RHYTHMS OF SPEECH", "signature_source": "LORENZO GUIDO BREZZO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.78", "debut_caractere": 1028, "fin_caractere_exclue": 2762, "texte": "MEASURED\nRECITATION\nA STUDY ON THE\nPOETICAL RHYTHMS OF SPEECH\nBY LORENZO GUIDO BREZZO\n11 'tis we musicians know n\n(R. Browning: Abt Vogltr),\nPURE RHYTHM\n1. - Rhythm is the order of elements in\nsuccession.\n2. - A rhythm measure (shortly a )\nis a duration unity that can be repeated inde-\nfinitely in succession.\n3. - Measured isochronism finds its origin\nin the tendency of the mind to perceive phe-\nnomena under the aspect of unity. That per-\nception is easy in proportion to the degree of\nlikeness possessed by the component elements;\nfor, the greater the likeness, the weaker will\nbe the power of attracting attention, exercised\nby each.\n4. - In order to become perceptible to the\near, a measure must be filled with sound. As\nregards speech, the sound is the spoken language.\n5. - In order to make each measure per-\nceived separately, the sound must undergo a\nmodification at the beginning of every measure.\nThe modification, in the present case, is one\nof intensity.\n6. - If we consider the spoken language as\na prolonged sound, every fraction of that sound\nbetween two successive moments of diminished\nintensity constitutes a syllable (1\\\n7. - \" The strength of each separate force-\nimpulse, such as we give to the separate syl-\nlables, tends to diminish progressively. The\nbeginning of each of these force-impulses marks\nthe beginning of the syllable \" We shall\ncall this beginning \" accent \", and use it to\nmark the beginning of the measure.\n8. - When every measure is marked by\nan accent, we have the measured diction,\nwhich gives rise to poetical rhythm. Ordinary (i.\ne. unmeasured) diction produces prose rhythm.\n\n(1) SWEET. A handbook of phonetics, p. 87. —\nJONES. The pronunciation of English, p. 55.\n(2) SWEET. Ibid.p. 89."}, {"page_pdf": 79, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 4195, "texte": "9. Accent isochronism is therefore the first\nfundamental law of poetical rhythm (1).\n10. - The syllables of any indefinite set\nnever possess accents of equal intensity. If\nwe call the weakest accents 1, accents 2 will\ndivide the set into groups of several measures.\nEach group constitutes a foot. The foot-accent\ntends towards isochronism (9), that is, the set\nis apt to fall into equal feet.\n11. - We shall indicate the measure and\nthe foot by means of the symbols — , VJ . It\nmust be remembered that either of them stands\nfor a measure, not for a syllable. The former\nstands for a measure marked by accent 2,. the\nlatter for a measure marked by accent 1. To\navoid confusion, they shall be called strong and\nWeak, not longa and brevis.\n12. - In any definite set of syllables, some foot-\naccents are stronger. We shall call them 3\nThey will divide the sets into groups, and each\ngroup constitutes a metre. The metre-accent\ntends toward isochronism (9).\n13. - The secondfundamental law o\nrhythm is seen at work constantly for the first\ntime, in connection with the metre. The ac-\ncent proper to a rhythm-member finds its place\nat the end of the member. The reason is\nthis. An accent is a point on which attention\nis focused : what enables a stronger accent to\nattract attention is the difference between its\nown intensity, and that of the weaker accents.\nNow, this difference cannot be felt unless the\nweaker accents be heard first.\n14. - As it is easier to imagine few than\nmany objects together, the rhythm-member that\nis apt to prevail is always the simplest pos-\nsible (3). This fact constitutes the third fun-\ndamental law of poetical rhythm.\n15. This is the notation of the metre of\ntwo two-measure feet, which is the simplest\npossible :\n16. - In any indefinite set of metres, some\nmetre-accents are stronger. We shall mark\nthem 4 (,). They will divide the sets into\ngroups : each group constitutes a verse. The\nverse-accent is final (13), and tends to iso-\nchronism (9). This is the notation of the two-\nmetre verse :\n17. - In the same way, groups of verses are\nformed with final isochronous accents which\nwill be marked 5. Each group constitutes a\npolustich :\n18. - Stanzas are formed in the same way,\nwith final isochronous accents to be marked 6.\nHere is the two-polystich stanza :\n19. - Intermediate rhythm members are not\nas a rule found between the stanza and the\npoem. The last accent of the poem is its\naccent proper, which might* be marked 7, if\nnecessary.\n20. - In the typical stanza scheme (18)\nall the rhythm-members of the same order are\nalike, and all the members are binary. Rhythm\nis therefore perceived here under the aspect\nof unity, as perfectly as possible.\n21. \" Besides the tendency to unity (3), the\nmind possesses a tendency to perceive phe-\nnomena under the aspect of multiplicity. So\nthe perception of a phenomenon is not satis-\nfactory, unless it takes place under both\naspects (2). Unconsciously following this second\ntendency, usage has modified the typical stanza\nscheme, imperfect because too unitary, into\nforms much too numerous to be recorded,\nwhich are obtained by combining in every\n\n(1) 44 The fundamental and necessary law of verse-\nrhythm is the equality of time-periods marked by stress ' .\nPublications of the Modern Language Association of Ame-\nrica, vol. XXXIX, no. 4, Dec. 1924: Report of the\nCommittee on Metrical Notation.\n(2) Further on, it will be sufficient to mark metre-\naccents by placing the sign | before the stressed syllable.\n(3) It must be noticed that a quaternary member is sim-\npler than a ternary one, for it can split into two equal\ngroups; a senary member is simpler than a quinary one,\nfor it can be split into two or three equal groups, and\nso on.\n(1) Further on it will be sufficient to mark metre-accents\nby placing the sign |j before the stressed syllable.\n(2) We cannot, in a non-phylosophical study search\nfor reasons for this fact. Those who admit the existence\nof an objective reality, separated from the perceiving sub-\nject, will think the fact to be connected with the nature\nof that reality; that is, the universe to be, in some my-\nsterious and apparently contradictory way, one and, mani-\nfold at the same time."}, {"page_pdf": 80, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.80", "debut_caractere": 0, "fin_caractere_exclue": 4270, "texte": "possible way rhythm-members composed of\nany number of members of inferior order. In\nthese derivative schemes, any of the above-\nmentioned accent-isochronisms may be inter-\nrupted, or disappear. Yet, if we consider\nthe schemes that are met with in the literary\npractice, we shall find that, besides the indispen-\nsable measure-isochronism (8), several others are\ngenerally preserved, among which, stanza-iso-\nchronism is hardly ever wanting.\nSPEECH RHYTHM\n22. -Up to now, we have considered\nsyllables as if they were elements not subject,\nin their grouping, to any law but that of\nrhythm, so that we might use them to embody\nany given pure-rhythm scheme, as we might\nwith the sounds of a musical instrument. If\nthe language were an arbitrary construction,\nif it were possible, in order to represent ideas\nto make up words of such shape and size as\nwe please, we might make speech-members\ntally exactly with the members of any pure-\nrhythm scheme. Every simple idea could be\nrepresented by means of a one measure word,\nevery coumpound idea by means of as many\nwords as there are measures in the foot, and\nso on. But language is an autonomous and\nirregular construction, which we can make use\nof only on condition of respecting its laws.\nIn most cases, therefore, the correspondence\nbetween speech-members and pure-rhythm\nscheme members will be unattainable.\n23. - The members of speech are : the\nword, the phrase, the clause, the period.\n24. - Division of speech-members—. This\nis obvious as far as words are concerned. As\nto clauses and periods, the grammar principles\non the analysis of sentences are sufficient\nA phrase is more difficult to define (2),\nand therefore more difficult to divide by rule.\nYet the difficulty disappears in practice, most\nparticular instances being very clear.\n25. - Accent. — Each member of speech\nis endowed with a proper accent, which could\nbe called the centre of gravity of the whole\nmember. That accent must not be confused\nwith emphasis, which is a further stress added\noccasionally to a word accent, in order to\ngive prominence to the idea for which that\nword stands (I). Since the nature of that\naccent is rhythmical, the accent itself shall\nobey the rules of pure rhythm, as far as lan-\nguage structure and the meaning of speech\nwill permit.\nNamely : Word-accents have a fixed seat\nof linguistic origin, which cannot, as a rule,\nbe influenced by rhythm-law.\nPhrase-, clause-, and period-accents fol-\nlow the second fundamental law of poetical-\nrhythm (13), and place themselves at the end\nof the member.\nNot all accents marked with the same\nnumber have exactly the same degree of in-\ntensity. Yet, to take into account all possible\ndegrees is unnecessary and would lead to\nconfusion. The meaning of numbers in our\nnotation is that any accent of a given order\n—3, for instance-is always stronger than\nthe strongest accent of the inferior order—2—,\nand weaker than the weakest accent of the\nsuperior order—4—.\nThe word on which the accent falls need\nnot be the most important of the member, as\nhere we have to do with accent, not with\nemphasis (25). As long as the accent does\nnot lend the word a prominence inconsistent\nwith the natural meaning of the member, the\nword itself is immaterial.\nIn the following clause, the last word is\na different one at each inversion. Yet the\naccent always falls on that.\nBut time drives flocks from field to \\\\ fold(2)\nFrom field to fold drives time the jj flocks\nThe flocks from field to fold drives (| time\nFrom field to fold time flocks does || drive\nIt is easy to make up similar examples for\nthe phrase and the period.\n26. - Separation of speech-members. —\nSpeech-members are separated from each\nother by means of caesurae. We have syl-\nlable-, word-, phrase-, clause-, and period-cae-\nsurae. A caesura is a moment of relaxed\n\n(1) NESFIELD. English grammar, past and present,\np. 102.\n(2) Ibid. p. 2. Nesfield's definition of the phrase is\nbut a negative one.\n(1) As the nature of emphasis is not rhythmical but\nlogical, the fact itself is outside the scope of our present\nresearch. Besides, emphasis is, to a great extent, arbitrary\nand variable.\nSee E. A. Poe: The Rationale of verse. Complete\nWorks: Black, London 1901, vol. Ill, p. 242.\n(2) RALEIGH. Answer to Marlow s Passionate Shep-\nherd."}, {"page_pdf": 81, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 3783, "texte": "attention, caused by a diminution of intensity,\nwhich will soon attain to silence, whenever\nthe caesura is of some importance. Since there\ncannot be degrees of silence as there are\ndegrees of intensity, silence-caesurae are in-\ntensified by being lengthened. As a rule,\nthe stronger the accent, the more important\nwill be the following caesura.\nMEASURED DICTION\n27. - Ordinary speech diction is not mea-\nsured, since neither the syllables nor the cae-\nsurae have an absolutely fixed duration. The\nrelative duration values (quantity) proper to\nspeech-sounds, already variable in themselves\nto a notable extent, are moreover incessantly\nmodified by emphasis Yet this variety\nis restrained by limits which cannot be disre-\ngarded in practice, for it is through keeping\nwithin these limits that each uttered portion\nof speech can retain a quantitative physiognomy\nsufficient for its instant recognition. Clearness\nand power of speech greatly depend upon\nthat.\nSpeech becomes measured in order to\nacquire further unity through rhythm (3). That\nend is desirable only inasmuch as it can be\nattained without loss of clearness or power,\nor, at least, with greater gain than loss. Mea-\nsured diction, therefore, must needs be founded\non ordinary good diction. One of its charac-\nteristic features is, that accent always prevails\nover emphasis (25).\n28. - Measures and syllables. —As the\nsyllable is practically the shortest element of\nthe language, it is apt to coincide with the\nmeasure which is the least member of pure\nrhythm. So a measure will usually be filled\nup with a syllable of average length. The\nresult will be that its relative duration will\nprove sometimes a little longer, sometimes a\nlittle shorter than in ordinary diction. If\nthis difference exceeds a certain limit, the\ndiction becomes too artificial, and clearness\nor power of speech is impaired. In that case,\nthe syllable shall be made to last more than\none measure, or a measure shall be filled up\nwith several syllables. Naturalness of utte-\nrance is further preserved :\na) By beginning a syllable after the be-\nginning of a measure, and filling up the gap\neither with a lengthened preceding syllable,\nor with a caesura, according to sense. This\nis often done with weak syllables and occa-\nsionally with strong syllables in weak feet.\nThe fourth syllable begins towards the\nmiddle of the fourth measure.\nb) By beginning a syllable before the be-\nginning of a measure and shortening the pre-\nceding syllable accordingly.\nThe fourth syllable lasts somewhat less and\nthe fifth somewhat more than a measure.\n29. - Feet and words. — Feet naturally\ntend to be binary (14), if that is compatible\nwith natural diction. If not, they become\nternary, again to revert to binary grouping as\nsoon as possible. Yet, should they be com-\npelled to remain ternary for a considerable\ntime, the tendency to the simplest member (14)\nwould be overcome by the law of isochro-\nnism (9), and ternary grouping would acquire\na certain degree of stability.\nThe tendency to foot-accent isochronism\nwill sometimes induce a lengthening, or, less\nfrequently, a shortening of a syllable, not no-\nticeable in ordinary diction, and which is\nquite permissable, so long as it does not in-\nterfere with clearness or power of speech.\nThe second syllable is lengthened in mea-\nsured diction that foot-accent isochronism may\nbe preserved.\n30. - Metres and phrases. — Everything\nthat has been said about feet and words, ap-\nplies to metres and phrases, with the only dif-\nference that metre-accent isochronism will be\nmore often interrupted. For, if it is easy to\nget rid of a redundant measure by shortening\na syllable, or to obtain an extra measure by\n\n(1) SWEET'S Handbook,p. 97.\n(1) TAGORE. Gilanjali, 2.\n(2) SPENSER. T Bridal Day.\n(3) TAGORE. Gitanjali, 2."}, {"page_pdf": 82, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.82", "debut_caractere": 0, "fin_caractere_exclue": 3293, "texte": "lengthening a syllable or inserting a short\ncaesura, it is hardly ever possible to make\naway with the duration of one or several feet, or\nto wedge in a long caesura without marring\nthe sense. Yet, instances of metres, partly\nfilled up with words, and completed by means\nof added silent measures, are very often to be\nmet with (34). Here are examples of how\ndifferent metres get formed under the influ-\nence of speech-rhythm;\nThe binary metre is preserved throughout,\nas the sense allows the syllable \" cap \" to\nhave accent 3 on it.\nAs the sense forbids the first syllable of\n\" little \" having an accent stronger than 2,\nthe metre becomes ternary. On the other\nhand, as \"cap \" cannot have an accent weaker\nthan 3, the following metre consists of a single\nfoot.\nA new foot, with accent 2 (tiny) being\nadded, the metre becomes quaternary.\nOwing to the new foot (pretty), with\naccent 2, the metre becomes quinary. It is\nto be noticed that quinary metres are already\ncomparatively rare, and longer metres are\nbecoming rarer and rarer as ihe number of\ncomponent reet increases.\n31. - Verses and clauses. — The difficulty\nof preserving accent-isochronism is still greater.\n32. - Polystichs and periods. — To pre-\nserve accent-isochronism is all but impossible.\n33. - There are no members of speech\nthat outwardly correspond to stanzas. They\nare made up of several periods linked toge-\nther into a compound one by the sense.\n34. - Duration of caesurae. — When a\nsufficient number of measures marked by syl-\nlable-accents has been heard, the measure is\nkept up, for some time, by habit, in the mind,\nthough the voice be silent. The same thing\nhappens with all rhythm-members. It is clear\nthat the period of a rhythm-member cannot\nchange during silence, for want of accent.\nTherefore a caesura (9) shall normally last\nas many measures as are required, in order\nthat the first subsequent accent may fall in\nwith the accent-period in progress.\n35. - From what has been said, it follows\nthat measured diction does not necessarily\ndepend on any special arrangement of words,\nthough that arrangement may have a great\ninfluence upon the degree of excellence of\nthe poetical rhythm obtainable in each instance.\nTherefore, under the aspect of rhythm we\ncannot properly speak of poetical or prose\nform as visible in writing, since speech, in\nwhatever form be it written, is always ame-\nnable to measured as well as to ordinary\ndiction.\nPOETICAL RHYTHM FORMS\nTO BE MET WITH IN PRACTICE.\n36. - Since the poetical rhythm-form of a\nliterary piece is determined by the interplay\nof pure-rhythm laws, and the laws of speech,\nit is different for each piece, so that no list\nof pre established schemes can possibly be\ngiven. Yet, in that interplay, we shall di-\nstinguish three phases, to one of which any\ngiven form can be ascribed.\n37. - First phase. — The members of speech\nare moulded upon the pattern of a pure-rhythm\nscheme.\na) Syllables are moulded upon measures :\nThis happens very frequently, as it is\nrather easy to arrange the speech so as to\nhave a set of syllable-words that can be made\n\n(!) We feel we must apologize for atrociously spoi-\nling the first line in Kipling's Mandalay. We took the\nliberty of so doing, as the example suited our present\npurpose, to perfection.\n(1) MARLOW'S Passionate Shepherd."}, {"page_pdf": 83, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 2535, "texte": "to last one measure each, withont loss of ;\nnatural diction. 1\nb) Words are moulded upon feet:\nThis is not so easy, as it is often impos-\nsible to arrange the speech so as to have a\nset of words identical in number of syllables,\nnatural quantity and accent.\nc) Phrases are moulded upon metres :\nEx: The longer 1 life, the more of || fence ;\nThe more of | fence, the greater |J pain,\nThe greater pain, the less de | fence,\nThe less de fence, the greater | gain<2>.\nd) Clauses are moulded upon verses:\nEx. Open the temple-gates unto my [j love,\nOpen them wide that she may enter || in;\nAnd all the posts adorn as doth be || hove,\nAnd all the pillars deck with garlands ||\ntrim\nThis case is extremely common.\ne) Periods are moulded upon poiystichs :\nEx : The ghosts of Ossian skim the misty vale,\nAnd hosts of Sylphids on the moon-beam\nsail <♦>.\n/) Compound periods are moulded upon\nstanzas:\nEx: What should we talk of dainties, then,\nOr better meat than's fit for men ?\nThese are but vain; that's only good\nWhich God hath blessed and sent for\nfood (5).\nThis case is normal with hardly any ex-\nception.\n38. - Second phase. — Speech members\nare no longer moulded upon the pattern of\na pure rhythm-scheme, yet the latter is still\npartly made perceptible through rhyme. Rhyme\nis an assimilation of sounds under the aspect\nof quality. It is chiefly employed as a factor\nof unitary perception; but this point does not\nconcern us here, as it has nothing to do with\nrhythm.\nRhyme is also used to mark the end of\na rhythm-member, generally a verse (,). Then\nits office is akin to that of accent; in fact,\nit might be called a quality accent.\na) Verses are made perceptible through\nrhyme:\n39. - Third phase. — Rhyme having dis-\nappeared, pure I-rhythm members no longer\nretain a means of their own through which\nto make themselves perceptible side by side\nwith speech-members.\nThat means that one of the two rhythm-\npatterns must be sacrificed. Which shall it\nbe? If we give up speech-rhythm, we betray\na tendency towards a uni-lateral notion of\n\n(1) DRYDEN'S, Alexander's Feast.\n(2) WYATT. One might object that these are clau-\nses, not phrases. That is true; yet rhythmically speaking,\nthe place of a phrase is sometimes taken up by a clause.\n(3) SPENSER. The Bridal Day.\n(4) H. K. WHITE. Clifton Grove.\n(5) RALEIGH. Answer to Marlow's 'Passionate\nShepherd.\n(1) See POE. The Rationale of Verse, etc.\np. 232.\n(2) MILTON. II penseroso. In order to make speech-\nmembers clearly seen, we begin a new line at each\nclause.\n(3) J. MONTGOMERY. Religion."}, {"page_pdf": 84, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192510-01.1.84", "debut_caractere": 0, "fin_caractere_exclue": 1845, "texte": "poetical art, that is, towards considering it as\nbeing outside the pale of ideas, and akin to\ninstrumental music. So it seems that the\nadvisability of abandoning pure rhythm may\nbe taken for granted.\nYet, shall a poet take pains to cut his\nsentences into an elaborate system of lines\nand use a number of otherwise totally unne-\ncessary capitals, only to give his readers the\ntrouble of undoing his work ? The argument\nis a strong one ; yet it can be reversed. Shall\na poet—Milton for instance, — carefully break\nhis lines and build up their fragments into\nspeech-members of ever-changing length, that\nthe reader may do his best to merge that\nbeautiful variety into a monotonous sequence\nof iambic pentameters ? If a poet desires a\npure-rhythm scheme to be perceptible in his\nwork, let him make it tally with his speech-\nmembers.\n40. -In the following examples, the no-\ntation is calculated to give prominence to\nspeech-rhythm only. Pure-rhythm schemes,\nwhen existing, have been disregarded.\nPolystichs are separated from each other\nby means of a blank line.\nCaesurae are marked, when necessary, by\nmeans of blank measures