{"numero_id": "bm-bmtnaau-1928-10-01", "volume": "bmtnaau_1928-10_01", "ocr_sha256": "fadffc5f7e70f05261c9b529072878bc6e2acd2383302f2ea09e4fa61ffe5acd", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1928/10_01/bmtnaau_1928-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1928/10_01/bmtnaau_1928-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01", "articles": [{"article_id": "bm-bmtnaau-1928-10-01-c002", "article_bluemountain": "bmtnaau_1928-10_01#c002", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.1", "debut_caractere": 587, "fin_caractere_exclue": 1249, "texte": "THE PASSING OF A GREAT MASTER,\nMAESTRO ENRICO CECCHETTI, His\nservices to the Ballet, with many personal memo-\nI /T .1 IV/ T*> ,\nries, by Cyril W. beaumont.\nTWO BOOKS, being considerations on Bri-\nX tisH Inertia and Russian Activity in the Thea-\ntre, and on Mr. Louis N. Parker, Dr. Joseph\nGregor and Dr. Fulep Miller, by Ma che.\n' 1 'HE LIBRARY OF A COMEDIAN ;J. P.\nX HARLEY 1786-1858, by Paul McPharlin.\nSOME TECHNICAL SECRETS OF 16TH\nCENTURY SCENOGRAPHY from the\nBook of Nicola Sabbattini, 1638.\nPARIS 1928. Folies Berg&res and Highb rows,\nby p. b.\nTWO DRAMATISTS, And A Great Name\nForgotten, by E. G. C.\nBRITISH OPERA, SIR THOMAS BEE-\nCHAM & MR. GORDON CRAIG,"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c003", "article_bluemountain": "bmtnaau_1928-10_01#c003", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.1", "debut_caractere": 1251, "fin_caractere_exclue": 1466, "texte": "ILLUSTRATIONS\nSIX LARGE SECTIONS OF A MAGNIFICENT PLAN OF\nVENICE 1500\nOF WHICH THE REMAINING SIX PLATES WILL APPEAR NEXT QUARTER\nA PORTRAIT OF MAESTRO ENRICO CECCHETTI. DIAGRAMS OF SIX-\nTEENTH CENTURY SCENIC DEVICES"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c004", "article_bluemountain": "bmtnaau_1928-10_01#c004", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.4", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.2", "debut_caractere": 533, "fin_caractere_exclue": 1133, "texte": "LITERARY CONTENTS.\nSHAKESPEARE, STRATFORD ON AVON AND A\nBRITISH ARTIST . J. S I . 139\nTWO BOOKS 142\nTHE PASSING OF A GREAT ARTIST . . . Cyril W Beaumont . . , .146\nTHE LIBRARY OF A COMEDIAN, J. P. HARLEY . Paul McPharlin 154\nEXTRACTS FROM THE PRACTICE OF MAKING II I I\nSCENES AND MACHINES IN THEATRES . . Nicola Sabbattini. . I. .162\nPARIS 1928 . , . p.f. 169\nTWO DRAMATISTS E. G. C 170\nTOWARDS PERFECTION Hokusai 171\nWALDTEUFEL D. P. . 1 172\nBRITISH OPERA: AN OPEN LETTER TO SIR\nThOMAS BEECHAM ...... Gordon Craig . . . . .172\nA NOTE ON THE PLAN OF VENICE. J. S 182\nBOOK REVIEWS AND EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c005", "article_bluemountain": "bmtnaau_1928-10_01#c005", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.5", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.2", "debut_caractere": 1135, "fin_caractere_exclue": 1433, "texte": "ILLUSTRA\nMAESTRO ENRICO CECCHETTI Plate 21, Face 139\nSIX PLATES OF A PLAN OF VENICE, 1500 . . . . ■ 182\nFIVE DIAGRAMS FOR SCENIC MECHANISM . . Nicola Sabbattini , . Page 162-168\nTHREE SILHOUETTES. ...... Daniel Nicholas Chodowiecki. n 142, 146,\n135\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c006", "article_bluemountain": "bmtnaau_1928-10_01#c006", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[138]", "page_fin": "[138]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.6", "titre_corps": "MAESTRO ENRICO CECCHETTI", "titre_sommaire": "MAESTRO ENRICO CECCHETTI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[138]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 35, "texte": "MAESTRO ENRICO CECCHETTI.\nPlate 21."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c007", "article_bluemountain": "bmtnaau_1928-10_01#c007", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[139]", "page_fin": "141", "image_debut": 5, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.7", "titre_corps": "SHAKESPEARE : STRATFORD, AND A BRITISH ARTIST", "titre_sommaire": "SHAKESPEARE : STRATFORD, AND A BRITISH ARTIST", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "[139]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.5", "debut_caractere": 24, "fin_caractere_exclue": 1079, "texte": "SHAKESPEARE\nSTRATFORD, AND A BRITISH ARTIST.\n\nTHAT excellent monthly magazine \" The Shakespeare Review\"\nedited by A. K. Chesterton has in its third number a very\nblithering article on \" The Mask \".\nWe say blithering, for we find it the essence of good\nmanners to use such terms about our adversaries. It's Parliamentary,\nand what could be more of a standard than the language used in such\nan exalted spot.\nHaving said as much, we will revert to the use of language more\n.comprehensible to our good friends at Stratford; for, dash it all, we\ncan't quarrel seriously with them.\n\"THE MASK'S\" ATTACK ON STRATFORD\nO BY THE EDITOR o\nis printed across the cover.\n\" The sincerity of \" The Mask \" is open to grave question \" writes\nMr. A, K. Chesterton.\nMr. A. K. Chesterton is wrong there. Open at all kinds of un-\nguarded spots, but not in the matter of sincerity. It's sincere enough.\nIt didn't and it doesn't like to see England at Stratford being propped\nup by any foreign nation. For if England would only stand square-\nly to its best men, all would be well."}, {"page_pdf": 6, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 2259, "texte": "The collection of men in the Stratford-upon Avon Theatre scheme\nis not representative though good names figure on its prospectuses.\nAll would be well, for example, if either of the first three producers\nof English birth were placed in power on the stage at Stratford-upon-\nAvon. All would not be ill if the \" Shakespeare Review \" could not\nfind it possible to reproach \" England's really great men of letters \"\nfor not \" lifting a little finger to help the drama in this country \".\nThey do their best. They write as good plays as is in their power.\nWho in England can write better. That's lifting, not merely a little\nfinger, but making a big income too, always an admirable after-thought.\nIn the course of his excellent article Mr. A. K. Chesterton says\nthat \" the Stratford-upon-Avon oil fields have yet to be discovered \".\nPossibly; but he will hardly deny that the recent discovery of the\nnew spring of clean fresh water will be helpful to the Flower Brewery,\nthat Brewery which does not exactly spell ruin.\nFresh water makes better Beer; better Beer needs advertising, and\nthis whole Shakespeare excitement at Stratford-upon-Avon is to prove\nquite the big advertisement that was looked for.\n\" ' The Mask's' attack ... is not only mean and captious, but\nimpudent as well\" writes Mr. A. K. Chesterton. He adds that it is\nimpudent because it censures \" the actions of men who have devoted\nthe better part of their lives to furthering the interests of the Theatre \".\nWell, we should never have guessed that. \" The better part of\ntheir lives \" and to only achieve so little. We are sorry.\nSorry because we could name some ten men in England who are\nnot at work at Stratford, who have achieved more for the Theatre, and\nwho have never been called to Stratford to show them there how to\ndo it.\nNo, no, the Stratford-upon-Avon scheme is a little thing and seems\nto wish to remain so.\nObviously the right man to do this job was . . . but no, we shall\nbe held to be currying favour with Gordon Craig if we say more.\nBut what fiddlesticks it all is. Of course he is the only man for\nthat job. Made for it and it for him, and again the timidity of a com-\nmittee has missed its chance.\nMr. Craig may object to this and may point out that he is freer\nworking as he is."}, {"page_pdf": 7, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 725, "texte": "Whether this be so or not does not particularly concern us. What\nwe are trying to keep in view are the essentials:...\n1. Shakespeare.\n2. The British Theatre.\n3. The best British artist to produce.\n4. The British spirit somehow to rouse up in Stratford.\nAnd if American and other foreign money is used, if third-rate produ-\ncers are employed, neither Shakespeare nor the old British spirit can\npossibly flourish at Stratford-upon-Avon.\nI For the heart of the whole thing is the stage of the Stratford-upon-\nI Avon Theatre.\nBut a series of silly productions, tame to boredom, such as we are\ngiven there, can only once more convince all England that Shakespeare\nis vastly over-rated, out-of-date, and a bit of a nuisance.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c009", "article_bluemountain": "bmtnaau_1928-10_01#c009", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "146", "image_debut": 8, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.8", "titre_corps": "TWO BOOKS", "titre_sommaire": "TWO BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.8", "debut_caractere": 30, "fin_caractere_exclue": 2474, "texte": "TWO BOOKS.\n\nSEVERAL OF MY LIVES\nBY LOUIS N. PARKER.\nTHE author writes a lively book, but\nhe quite unnecessarily bewails the\ndisaster which has fallen on the stage by\nthe loss of our old friends Waller, Tree,\nWillard and Alexander ;—44 No one to\ntake their place \" he cries, which is cor-\nrect but immoderately gloomy, and needed\na word more to make it clear and more\ncorrect.\nEveryone grieves for good friends gone\nand good artists no longer at work.\nNo one ever will fill Mr. Parker's\nplace ; even if a new Sheridan came he\nwould not fill the place occupied by Mr.\nParker perhaps not even attempt to.\nEach man of talent as he comes along\nfinds an empty place to fill and fills it;\nand so to bewail is to seem to be trying\nto make trouble.\nIt can be only seeming in Mr. Par-\nker's case, we may be sure, but it is\nnone the less a pity.\nIhe English stage appears to be going\non in the usual way away in which\nit has gone on since Sheridan died or\nsince Canute was king, or still further\nback.\nMuch of Mr. Parker's bitterness comes\nfrom bothering to suppose that \"peo- .\npie sneer at the Victorians. 44 Oh Gol-\nding \" he writes, 44 I am so sick of\nhearing the Victorians sneered at \"• But\nhe isn't always praising them himself...:\nI would, for example, have valued his\npraise of Irving, Ellen Terry, J. L. Toole,\nGrossmith and a couple of dozen more\nof those same Victorians. I find not a\nword.\nI would have liked to have read a\nfew appreciative lines on at least fifty,\npeople of today whose spirit is Victorian\nin the best sense and I find not even\na bare word. All I find is rather curious\nblind innocence that they ever existed.\nWell, then.\n%\nBut it's a chatty book and is written\nin the stage-memoir style, and needed only\na few illustrations in colour by Raphael\nTuck to make it just the happiest of la-\nmentations published for quite a long time.'\nMr. Parker hasn't a good word to\nsay for the New Movement in the Theatre.\nIn this Parker is like Harker, and it is\nunlikely that any of the members of that\nmovement will rouse themselves to enthu-.\nsiastically acclaim him as a particularly\njolly good fellow.\nExpression of sympathy,— kindness even,\nand a wish to not misunderstand any good\nin things being done breeds the same thing\nin others.\nMr. Parker isn't particularly kindly or\nsympathetic. Yes, he is of the Jose pb\nHarker type. Honest, doubtless, but with\na grudge against all in the New Movements\n\n(1) Chapman and Ha?! Ltd. 21/- net."}, {"page_pdf": 9, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3390, "texte": "So get his book at once. It will\nshow you just what 1 mean ; you 11 feel\nit surely enough when you come to the\nsection dealing with the stage.\nwn inwwß—»i jiiamj—-L.jLM—jLLMi I_M_J-UJL_HJ j i uiiifimMLaiiMiii —■—»■»»■\"■ »■' liiwwtiTT\"\n\nDAS RUSSISCHES THEATER\nBY JOSEPH GREGOR AND\nRENE FULEP-MILLER.\n(1)\nMR. Parker, his mind fixed on a small\npart of the globe, bent on those\nstreets which run from Piccadilly Circus\nto Fleet Street, horribly insular and not\nat all National, envious of those who he\nhas heard are doing things to bring about\na new Theatre in England, or ignorant\nof these,... Mr. Parker depresses. On the\nother hand, Dr. Gregor and Dr. Miller\nexhilerate.\nNot that they bring out a big book\non \" Das Englische Theater \" for it's\nnot yet quite time to do that. But they\nbring one out on the Russian Theatre,\nand they talk sense and are not jocular:\nithey come to the whole matter as seriously\n;as we like to think it deserves.\nThey understand a good deal more\ntth&n does Mr. Parker of what is taking\nthe place filled once by \" Waller, Tree,\nWillard and Alexander \".—\" No one to\ntake their place \" wails Mr. Parker. An\nidea created by a few men takes their\nplace and spreads far and wide, say Dr.\nGregor and Dr. Miller, although unfortu-\nnately they do not refer to Tree, to Willard,\nto Alexander or to Waller.\nOn the other hand they do not fail\nto speak of some English-speaking artists,\n.... of Maugham, Craig or Bel Geddes,\nChesterton, and Jones, and, in fact, some\nof all lands: of some Germans, Stern, Roller,\nReinhardt; of Claudel, Strindberg, Antoine;\nbut of none of that cosy little crowd known\nto Mr. Parker and considered by him as\nto be \" the be all and the end all here \".\nThis is rather a blow: rather dashing\nto that gloomy group which prefers to\nwhine that there is no one now as good\nas those wonderful men of the Victorian\nage instead of manfully saying there are\nsome just as good. To do that would\ncall for two things from the group: first\nhonestly looking the truth in the face, and\nthen admitting the truth of what we say\nand have said for years.\nNot Mr. Parker alone but others have\ndone and still do too much harm to the\nBritish theatre to be any longer excused for\ntheir indifference to one of the most im-\nportant movements which has ever come\nto wake up the European stage in\nwhich we hope the British stage may be\nincluded as part.\nAnd the Russians have contributed\nperhaps more than any other nation to-\nwards this awakening.\nThey have wanted things to go on,\nand not like Mr. Parker, or the late Mr.\nWilliam Archer, who have wanted things,\nto stay still, or Mr. Bernard Shaw who\nwants to be the one to have stopped them.\nThe result is the Russian Theatre\npeople have for twenty years or more\nbeen given every opportunity to exercise,\nto keep in training and to excel ; the\nEnglish Theatre people have been given\npractically no opportunity.\nWho doubts that Mr. Basil Dean, to\ntake the first name that comes handy,\nwould have done as well, say, as M. Tai-\nroff had he received the same support and\nbeen given opportunity to exercise, and\nkeen-witted appreciation during the process.\nBut London doesn't play the game\nsometimes and this is one of those times.\nIn Russia the theatre developed long\nbefore the Soviet came into being; but\n\n(1) Amalthea Verlag. (Wien) W'th 357 black and\n~ white and 48 colour illustrations. Price 70 marks. Bound*\n85 marks."}, {"page_pdf": 10, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3159, "texte": "the Tsars had not much to do with the\ndevelopment.\nIt was the result of an appreciation\nof intelligence, common sense; and it was\na state of serious belief amongst the artists,\nand the spectators and critics were not\nlate in welcoming the result.\nIn London scepticism is rife a se-\nrious belief in things amongst the artists in\nthe Theatre no longer exists.\nIf it had existed Gordon Craig would\nnow be the head of Drury Lane : Basil\nDean would rule at His Majesty's ; Bar-\nker would be back at the Court Theatre,\nand Sir Barry Jackson playing to packed\nhouses down in Birmingham.\nEach city in England would have its\npermanent repertory playhouse and be\nexperimenting towards worth while things:\nwhereas, thanks to the deadly spirit voiced\nby these sceptical writers of books like\nSeveral of My Lives \" and \" Studio\nand Stage \" (Harker), merry in sound and\nsceptical in heart, we have no experiment,\nno public welcoming our best men, and a\nclerk from Harrod's has the disastrous\naudacity to pretend he can adequately fill\nthe seat vacated by Garrick, Kean and\nIrving at Drury Lane. I refer to the\nable business man, Sir Alfred Butt.\n\nRUSSIAN ACTIVITY\nTHIS book, which lays before Europe\nmost of the stage work of Moscow\nand Leningrad is too full of good things\nfor anyone to review it in a single article.\nWe in England have seen the Russian\nBallet, and a branch of the Moscow Art\nTheatre has been to London. But there\nare several other theatres energetically\ndoing good things.\nThe 405 plates show us something of\nwhat has been done, although to under-\nstand the fuil result one would have to\nvisit each of the theatres or studios which\nhave done them.\n1. Ihe Moscow Art Theatre and its .\nseveral \" Studio Theatres \" with their\nsixty or seventy productions.\n2. Ihe Little Theatre.\n3' The Russian Ballet with its thirty\nor forty productions.\n4. The Studio of Bakst and Miss\nRubinstein.\n5. The Studio of Mme. Gontscharova\nand Larionoff.\n6. The experimental Theatres of Le-\nningrad ; there are some seven or more.\n7. Mayerhold's Theatres.\n8. Tairoff's Theatre with his host of\nclever actors, actresses, managers and de-\nsigners.\n9. The Habema Theatre.\nThese nine large sections of the Rus-\nsian theatre have established a standard.\nWhy the devil do you members of the\nBritish public allow the Parkers of\nthis earth to sneer away our standard?\nsuch a waste of time, for we have continually\nto reestablish it. In 1 900 we had already\nbegun work, but, while you have accep-\nted some of our work the lighter\nthings, ...\" The Beggars Opera\" ... and\na few Revues in which faint echoes of\nour British work were to be heard, you :\nso over-enthused about these that you ■\nexhausted yourselves over them.\nTne Russian artists do not cease trying\nto advance : the Russian public does not\ncease trying to follow its best, its most :\nserious, artists : pretty good, this.\nAnd if at times a Benois exceeds all\ngood sense and taste in a thing like his •\ndecor for \" Le Malade imagmaire \",\nif he fails to understand Moliere and that\n17th century stage, he anyhow knows\nthat his own public and his own Theatre\nfolk are not going to sceptically damn.\nhim for all time for his slip."}, {"page_pdf": 11, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3208, "texte": "Benois shows up well in this book.\nHis design for 44 Le Club des Cordeliers \"\n'Napoleon film, 1925, is not oniy a beau-\ntiful drawing reminding one a little of\nRolandson; it is essentially good cinema.\nHis drawings for 44 La Dame aux\nCamelias \" seems to me not up to his\nmark.\nThe fun of Dobuschinski's 44 La\nTraviata \" (Chauve-souris) belongs rather\nto charade work than anything better, but\nas such is not bad, not very good. His\n44 Blue room for A month in the country \"\nis a pretty drawing but is not comparable\nwith the same scene as presented by Sta-\nnislawsky from designs by the same ar-\ntist ; and his 44 Die Rauber \" is dull.\nBakst is as effective as any of the\ndesigners but does not seem ever to have\nquite got to grips with the stage; he is\nrather inclined to 101 l round it behaving\nbrilliantly when asked to do something\nwhich is direct and sensible. This does\nnot mean to say that he was not head\nand shoulders above Joseph Harker.\nSomehow or other Mme. Gontscharowa\nis twice as penetrating ; and now and\naaain she indeed dares to be more serious\nO\nthan most of them.\nSchukajeff likes to enjoy himself, and\n1 don't think I enjoy Poschedajeff or\nT schelischeff.\nA Exter is wide awake and doubt-\nless Tairoff derives much from his genius:\nyet if 1 were a stage manager I hardly think\n1 should engagp Mr. Exton.... but he is\nwide awake. A. Wesmn is not only\nawake ; he seems not to fear lest he\nshould go to sleep. Exter is too noisy\nto allow anyone to dream of such a thing,\n—which, after all, is possibly a good\nthing since fat men and women will go\nto the theatre for half an hour's snooze.\nFomina interests me, and 1 wonder\nwhether his model for 44 Galilei \" No. 223\nderives at all from a design in 44 The\nMask\" 1908.\nBut all this merely refers to those\ninspiring helpful designers who in the last\ntwenty-eight years or so have poured in\nat the stage door of the Russian Theatre\nand been warmly welcomed.\n\nINTELLIGENCE.\n\nWHERE was I ? ....oh yes, \" warmly\nwelcomed \".\nThey were welcomed by the actors\nand producers and stage managers. Every-\none was happy about it, not glum\nnot sceptical - not damned indifferent.\nAnd when we turn the pages of this\nbook and come across the portraits °f\nAlice Koonen and Zenaida Mayerhold\nwe see one of the reasons why.\nHere are intelligent women.\nTurning more pages we come to whole\ngroups of actors and actresses and we see\nhow they are trying seriously to absorb\nall the intelligences have to offer and\nhow well they succeed in this.\nNo Russian actors try to 4 queer '\nthings because they are strange to them:—\nthey have moral courage and go to meet\ndifficulties. It is this moral courage which\nhas won the Russian stage the first place\nin the European Theatre today.\nWithout any fear the actors work\nhard to adapt themselves to an idea : if\na scene looks odd they adapt to it and\nbecome part of the oddness. Criticism of\nit would seem to their fellow workers as\npetty as it is suicidal : and hence the\nRussian stage is living whilst ours is ... not\nin the very best of health.\n(Matrunin, by the way, is a clever\nfellow. Chaliapine has a studio theatre for\nwhich Matrunin works).\nI was once in Russia and attended\nsome rehearsals of a Russian play. The\n4"}, {"page_pdf": 12, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 1080, "texte": "actors were quite the most seriously be-\nhaved men and women I have ever seen\nat work. It took them sometimes a long\ntime to arrive at what they were aiming\nfor : but they never gave up trying, nor\ndid they cackle, or sulk or talk disloyally.\nI never once saw them go on strike\nmentally. Far too proud: what we\nonce called too British :. (Leuterloff is\nanother clever fellow).\nMany are the theatres and artists I\ncannot even refer to here ; but one and all\nhave that courage I spoke of, are without\nscepticism, and are, as a rule, essentially\ntheatrical. Mayerhold, lam told, has genius.\nIn all this excellent work and passio-\nnate love of going on, of pushing on, I\nfind a tendency to things rather than\nto grow them.\nI don't know how it is, but lam\nnot altogether happy at the Russian Thea-\ntre : I'm not happy as lam when I have\na work of fine art to read, to look at or\nto hear.\nHow's this ?\nWell, a fine art is a fine art and there\nan end of it : and not yet in any land\nis the theatre even entering the condition\nnecessary to enter, before it can become\na fine art.\n\nMa che."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c010", "article_bluemountain": "bmtnaau_1928-10_01#c010", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "142", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.8.1", "titre_corps": "A SILHOUETTE BY CHODOWIECKI", "titre_sommaire": "A SILHOUETTE BY CHODOWIECKI", "signature_source": "CHODOWIECKI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 28, "texte": "A SILHOUETTE BY CHODOWIECKI."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c011", "article_bluemountain": "bmtnaau_1928-10_01#c011", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "143", "image_debut": 8, "image_fin": 9, "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=bmtnaau192810-01.2.8.2", "titre_corps": "SEVERAL OF MY LIVES BY LOUIS N PARKER", "titre_sommaire": "SEVERAL OF MY LIVES BY LOUIS N PARKER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.8", "debut_caractere": 42, "fin_caractere_exclue": 2474, "texte": "SEVERAL OF MY LIVES\nBY LOUIS N. PARKER.\nTHE author writes a lively book, but\nhe quite unnecessarily bewails the\ndisaster which has fallen on the stage by\nthe loss of our old friends Waller, Tree,\nWillard and Alexander ;—44 No one to\ntake their place \" he cries, which is cor-\nrect but immoderately gloomy, and needed\na word more to make it clear and more\ncorrect.\nEveryone grieves for good friends gone\nand good artists no longer at work.\nNo one ever will fill Mr. Parker's\nplace ; even if a new Sheridan came he\nwould not fill the place occupied by Mr.\nParker perhaps not even attempt to.\nEach man of talent as he comes along\nfinds an empty place to fill and fills it;\nand so to bewail is to seem to be trying\nto make trouble.\nIt can be only seeming in Mr. Par-\nker's case, we may be sure, but it is\nnone the less a pity.\nIhe English stage appears to be going\non in the usual way away in which\nit has gone on since Sheridan died or\nsince Canute was king, or still further\nback.\nMuch of Mr. Parker's bitterness comes\nfrom bothering to suppose that \"peo- .\npie sneer at the Victorians. 44 Oh Gol-\nding \" he writes, 44 I am so sick of\nhearing the Victorians sneered at \"• But\nhe isn't always praising them himself...:\nI would, for example, have valued his\npraise of Irving, Ellen Terry, J. L. Toole,\nGrossmith and a couple of dozen more\nof those same Victorians. I find not a\nword.\nI would have liked to have read a\nfew appreciative lines on at least fifty,\npeople of today whose spirit is Victorian\nin the best sense and I find not even\na bare word. All I find is rather curious\nblind innocence that they ever existed.\nWell, then.\n%\nBut it's a chatty book and is written\nin the stage-memoir style, and needed only\na few illustrations in colour by Raphael\nTuck to make it just the happiest of la-\nmentations published for quite a long time.'\nMr. Parker hasn't a good word to\nsay for the New Movement in the Theatre.\nIn this Parker is like Harker, and it is\nunlikely that any of the members of that\nmovement will rouse themselves to enthu-.\nsiastically acclaim him as a particularly\njolly good fellow.\nExpression of sympathy,— kindness even,\nand a wish to not misunderstand any good\nin things being done breeds the same thing\nin others.\nMr. Parker isn't particularly kindly or\nsympathetic. Yes, he is of the Jose pb\nHarker type. Honest, doubtless, but with\na grudge against all in the New Movements\n\n(1) Chapman and Ha?! Ltd. 21/- net."}, {"page_pdf": 9, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 234, "texte": "So get his book at once. It will\nshow you just what 1 mean ; you 11 feel\nit surely enough when you come to the\nsection dealing with the stage.\nwn inwwß—»i jiiamj—-L.jLM—jLLMi I_M_J-UJL_HJ j i uiiifimMLaiiMiii —■—»■»»■\"■ »■' liiwwtiTT\""}]}, {"article_id": "bm-bmtnaau-1928-10-01-c012", "article_bluemountain": "bmtnaau_1928-10_01#c012", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "144", "image_debut": 9, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.8.3", "titre_corps": "DAS RUSSISCHES THEATER BY JOSEPH GREGOR AND RENE FULEP-MILLER", "titre_sommaire": "DAS RUSSISCHES THEATER BY JOSEPH GREGOR AND RENE FULEP-MILLER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.9", "debut_caractere": 236, "fin_caractere_exclue": 3390, "texte": "DAS RUSSISCHES THEATER\nBY JOSEPH GREGOR AND\nRENE FULEP-MILLER.\n(1)\nMR. Parker, his mind fixed on a small\npart of the globe, bent on those\nstreets which run from Piccadilly Circus\nto Fleet Street, horribly insular and not\nat all National, envious of those who he\nhas heard are doing things to bring about\na new Theatre in England, or ignorant\nof these,... Mr. Parker depresses. On the\nother hand, Dr. Gregor and Dr. Miller\nexhilerate.\nNot that they bring out a big book\non \" Das Englische Theater \" for it's\nnot yet quite time to do that. But they\nbring one out on the Russian Theatre,\nand they talk sense and are not jocular:\nithey come to the whole matter as seriously\n;as we like to think it deserves.\nThey understand a good deal more\ntth&n does Mr. Parker of what is taking\nthe place filled once by \" Waller, Tree,\nWillard and Alexander \".—\" No one to\ntake their place \" wails Mr. Parker. An\nidea created by a few men takes their\nplace and spreads far and wide, say Dr.\nGregor and Dr. Miller, although unfortu-\nnately they do not refer to Tree, to Willard,\nto Alexander or to Waller.\nOn the other hand they do not fail\nto speak of some English-speaking artists,\n.... of Maugham, Craig or Bel Geddes,\nChesterton, and Jones, and, in fact, some\nof all lands: of some Germans, Stern, Roller,\nReinhardt; of Claudel, Strindberg, Antoine;\nbut of none of that cosy little crowd known\nto Mr. Parker and considered by him as\nto be \" the be all and the end all here \".\nThis is rather a blow: rather dashing\nto that gloomy group which prefers to\nwhine that there is no one now as good\nas those wonderful men of the Victorian\nage instead of manfully saying there are\nsome just as good. To do that would\ncall for two things from the group: first\nhonestly looking the truth in the face, and\nthen admitting the truth of what we say\nand have said for years.\nNot Mr. Parker alone but others have\ndone and still do too much harm to the\nBritish theatre to be any longer excused for\ntheir indifference to one of the most im-\nportant movements which has ever come\nto wake up the European stage in\nwhich we hope the British stage may be\nincluded as part.\nAnd the Russians have contributed\nperhaps more than any other nation to-\nwards this awakening.\nThey have wanted things to go on,\nand not like Mr. Parker, or the late Mr.\nWilliam Archer, who have wanted things,\nto stay still, or Mr. Bernard Shaw who\nwants to be the one to have stopped them.\nThe result is the Russian Theatre\npeople have for twenty years or more\nbeen given every opportunity to exercise,\nto keep in training and to excel ; the\nEnglish Theatre people have been given\npractically no opportunity.\nWho doubts that Mr. Basil Dean, to\ntake the first name that comes handy,\nwould have done as well, say, as M. Tai-\nroff had he received the same support and\nbeen given opportunity to exercise, and\nkeen-witted appreciation during the process.\nBut London doesn't play the game\nsometimes and this is one of those times.\nIn Russia the theatre developed long\nbefore the Soviet came into being; but\n\n(1) Amalthea Verlag. (Wien) W'th 357 black and\n~ white and 48 colour illustrations. Price 70 marks. Bound*\n85 marks."}, {"page_pdf": 10, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 1131, "texte": "the Tsars had not much to do with the\ndevelopment.\nIt was the result of an appreciation\nof intelligence, common sense; and it was\na state of serious belief amongst the artists,\nand the spectators and critics were not\nlate in welcoming the result.\nIn London scepticism is rife a se-\nrious belief in things amongst the artists in\nthe Theatre no longer exists.\nIf it had existed Gordon Craig would\nnow be the head of Drury Lane : Basil\nDean would rule at His Majesty's ; Bar-\nker would be back at the Court Theatre,\nand Sir Barry Jackson playing to packed\nhouses down in Birmingham.\nEach city in England would have its\npermanent repertory playhouse and be\nexperimenting towards worth while things:\nwhereas, thanks to the deadly spirit voiced\nby these sceptical writers of books like\nSeveral of My Lives \" and \" Studio\nand Stage \" (Harker), merry in sound and\nsceptical in heart, we have no experiment,\nno public welcoming our best men, and a\nclerk from Harrod's has the disastrous\naudacity to pretend he can adequately fill\nthe seat vacated by Garrick, Kean and\nIrving at Drury Lane. I refer to the\nable business man, Sir Alfred Butt."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c013", "article_bluemountain": "bmtnaau_1928-10_01#c013", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "145", "image_debut": 10, "image_fin": 11, "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=bmtnaau192810-01.2.8.4", "titre_corps": "RUSSIAN ACTIVITY", "titre_sommaire": "RUSSIAN ACTIVITY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.10", "debut_caractere": 1133, "fin_caractere_exclue": 3159, "texte": "RUSSIAN ACTIVITY\nTHIS book, which lays before Europe\nmost of the stage work of Moscow\nand Leningrad is too full of good things\nfor anyone to review it in a single article.\nWe in England have seen the Russian\nBallet, and a branch of the Moscow Art\nTheatre has been to London. But there\nare several other theatres energetically\ndoing good things.\nThe 405 plates show us something of\nwhat has been done, although to under-\nstand the fuil result one would have to\nvisit each of the theatres or studios which\nhave done them.\n1. Ihe Moscow Art Theatre and its .\nseveral \" Studio Theatres \" with their\nsixty or seventy productions.\n2. Ihe Little Theatre.\n3' The Russian Ballet with its thirty\nor forty productions.\n4. The Studio of Bakst and Miss\nRubinstein.\n5. The Studio of Mme. Gontscharova\nand Larionoff.\n6. The experimental Theatres of Le-\nningrad ; there are some seven or more.\n7. Mayerhold's Theatres.\n8. Tairoff's Theatre with his host of\nclever actors, actresses, managers and de-\nsigners.\n9. The Habema Theatre.\nThese nine large sections of the Rus-\nsian theatre have established a standard.\nWhy the devil do you members of the\nBritish public allow the Parkers of\nthis earth to sneer away our standard?\nsuch a waste of time, for we have continually\nto reestablish it. In 1 900 we had already\nbegun work, but, while you have accep-\nted some of our work the lighter\nthings, ...\" The Beggars Opera\" ... and\na few Revues in which faint echoes of\nour British work were to be heard, you :\nso over-enthused about these that you ■\nexhausted yourselves over them.\nTne Russian artists do not cease trying\nto advance : the Russian public does not\ncease trying to follow its best, its most :\nserious, artists : pretty good, this.\nAnd if at times a Benois exceeds all\ngood sense and taste in a thing like his •\ndecor for \" Le Malade imagmaire \",\nif he fails to understand Moliere and that\n17th century stage, he anyhow knows\nthat his own public and his own Theatre\nfolk are not going to sceptically damn.\nhim for all time for his slip."}, {"page_pdf": 11, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 1921, "texte": "Benois shows up well in this book.\nHis design for 44 Le Club des Cordeliers \"\n'Napoleon film, 1925, is not oniy a beau-\ntiful drawing reminding one a little of\nRolandson; it is essentially good cinema.\nHis drawings for 44 La Dame aux\nCamelias \" seems to me not up to his\nmark.\nThe fun of Dobuschinski's 44 La\nTraviata \" (Chauve-souris) belongs rather\nto charade work than anything better, but\nas such is not bad, not very good. His\n44 Blue room for A month in the country \"\nis a pretty drawing but is not comparable\nwith the same scene as presented by Sta-\nnislawsky from designs by the same ar-\ntist ; and his 44 Die Rauber \" is dull.\nBakst is as effective as any of the\ndesigners but does not seem ever to have\nquite got to grips with the stage; he is\nrather inclined to 101 l round it behaving\nbrilliantly when asked to do something\nwhich is direct and sensible. This does\nnot mean to say that he was not head\nand shoulders above Joseph Harker.\nSomehow or other Mme. Gontscharowa\nis twice as penetrating ; and now and\naaain she indeed dares to be more serious\nO\nthan most of them.\nSchukajeff likes to enjoy himself, and\n1 don't think I enjoy Poschedajeff or\nT schelischeff.\nA Exter is wide awake and doubt-\nless Tairoff derives much from his genius:\nyet if 1 were a stage manager I hardly think\n1 should engagp Mr. Exton.... but he is\nwide awake. A. Wesmn is not only\nawake ; he seems not to fear lest he\nshould go to sleep. Exter is too noisy\nto allow anyone to dream of such a thing,\n—which, after all, is possibly a good\nthing since fat men and women will go\nto the theatre for half an hour's snooze.\nFomina interests me, and 1 wonder\nwhether his model for 44 Galilei \" No. 223\nderives at all from a design in 44 The\nMask\" 1908.\nBut all this merely refers to those\ninspiring helpful designers who in the last\ntwenty-eight years or so have poured in\nat the stage door of the Russian Theatre\nand been warmly welcomed."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c014", "article_bluemountain": "bmtnaau_1928-10_01#c014", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "146", "image_debut": 11, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.8.5", "titre_corps": "INTELLIGENCE", "titre_sommaire": "INTELLIGENCE", "signature_source": "Ma che", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.11", "debut_caractere": 1923, "fin_caractere_exclue": 3208, "texte": "INTELLIGENCE.\n\nWHERE was I ? ....oh yes, \" warmly\nwelcomed \".\nThey were welcomed by the actors\nand producers and stage managers. Every-\none was happy about it, not glum\nnot sceptical - not damned indifferent.\nAnd when we turn the pages of this\nbook and come across the portraits °f\nAlice Koonen and Zenaida Mayerhold\nwe see one of the reasons why.\nHere are intelligent women.\nTurning more pages we come to whole\ngroups of actors and actresses and we see\nhow they are trying seriously to absorb\nall the intelligences have to offer and\nhow well they succeed in this.\nNo Russian actors try to 4 queer '\nthings because they are strange to them:—\nthey have moral courage and go to meet\ndifficulties. It is this moral courage which\nhas won the Russian stage the first place\nin the European Theatre today.\nWithout any fear the actors work\nhard to adapt themselves to an idea : if\na scene looks odd they adapt to it and\nbecome part of the oddness. Criticism of\nit would seem to their fellow workers as\npetty as it is suicidal : and hence the\nRussian stage is living whilst ours is ... not\nin the very best of health.\n(Matrunin, by the way, is a clever\nfellow. Chaliapine has a studio theatre for\nwhich Matrunin works).\nI was once in Russia and attended\nsome rehearsals of a Russian play. The\n4"}, {"page_pdf": 12, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 1080, "texte": "actors were quite the most seriously be-\nhaved men and women I have ever seen\nat work. It took them sometimes a long\ntime to arrive at what they were aiming\nfor : but they never gave up trying, nor\ndid they cackle, or sulk or talk disloyally.\nI never once saw them go on strike\nmentally. Far too proud: what we\nonce called too British :. (Leuterloff is\nanother clever fellow).\nMany are the theatres and artists I\ncannot even refer to here ; but one and all\nhave that courage I spoke of, are without\nscepticism, and are, as a rule, essentially\ntheatrical. Mayerhold, lam told, has genius.\nIn all this excellent work and passio-\nnate love of going on, of pushing on, I\nfind a tendency to things rather than\nto grow them.\nI don't know how it is, but lam\nnot altogether happy at the Russian Thea-\ntre : I'm not happy as lam when I have\na work of fine art to read, to look at or\nto hear.\nHow's this ?\nWell, a fine art is a fine art and there\nan end of it : and not yet in any land\nis the theatre even entering the condition\nnecessary to enter, before it can become\na fine art.\n\nMa che."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c015", "article_bluemountain": "bmtnaau_1928-10_01#c015", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 12, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.8.5.1", "titre_corps": "A SILHOUETTE BY CHODOWIECKI", "titre_sommaire": "A SILHOUETTE BY CHODOWIECKI", "signature_source": "CHODOWIECKI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.12", "debut_caractere": 1082, "fin_caractere_exclue": 1110, "texte": "A SILHOUETTE BY CHODOWIECKI."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c016", "article_bluemountain": "bmtnaau_1928-10_01#c016", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "153", "image_debut": 12, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.9", "titre_corps": "THE PASSING OF A GREAT ARTIST", "titre_sommaire": "THE PASSING OF A GREAT ARTIST", "signature_source": "CYRIL W. BEAUMONT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.12", "debut_caractere": 1112, "fin_caractere_exclue": 3154, "texte": "THE PASSING OF\nA GREAT ARTIST\nBY CYRIL W. BEAUMONT.\n\nT'HE world of dancing is in deep mourning,\nfor its most noted personality, the Cav. En-\nrico Cecchetti, who died during November at\nMilan.\nHis father Cesare Cecchetti was a cele-\nbrated dancer and chor his mother\nSerafina Casagli was a premiere danseuse of\nrepute. On the night of June 21, 1850, after\ndancing, at the Tordinona Theatre, Rome,\nshe was taken ill in her dressing-room and\nthere gave birth to a child who some days\nlater was christened Enrico. When the mo-\nther was well enough to return to the theatre,\nthe baby accompanied her; and during the\nintervals when she was not dancing, she fed\nand comforted it until the hour arrived to\nreturn home.\nWhen the boy was five, his parents were\ndancing at Genoa. The repertory included\nRota's II Giocatore, in which the young Cec-\nchetti made a brief appearance as an actor.\nThe ballet concerns a gambler who, having\nlost everything, returns to the room where his\nwife and child are sleeping, to seek for some\narticle that he may stake in the hope of re-\ntrieving his fortunes. The wife awakens, begs\nher husband not to go and in final entreaty\nplaces her child across the threshold. But\nthe gambler, desperate, throws the child to\nthe mother, who catches it in her arms. The\nchild was then supposed to weep. But one\nnight, the mother—played by Signorina Santa-\nlicante—failed to catch the boy, and he fell\non the stage bumping his nose so that it bled.\nThe audience, not knowing this to be an\naccident, thought the child's tears so natural\nthat there were repeated \" calls\nSoon after this episode Cecchetti accom-\npanied his father and mother on a tour to\nAmerica, they having been engaged as mem-\nbers of a company organised by a dancer-\nimpresario called Ronsani. On the company's\nreturn to Italy, Cecchetti's father was engaged\nat the Victor Emmanuel Theatre, Turin, to\nstage four productions a year. He wrote many\nballets such as The Miller, Christopher -\nlumhus and The Mysteries of Paris.\nThe early eighteen-sixties provided many"}, {"page_pdf": 13, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4578, "texte": "important dates in the history of Italy; the\nrise of Garibaldi, the defeat of the Papal\nStates at Castelfidardo, the crowning of Victor\nEmmanuel—all this atmosphere of warlike ex-\ncitement inspired the lad with a wish to become\na soldier. He was divided between this new\npassion and his inherent desire to be a dancer.\nIt was about this time that Cecchetti's pa-\nrents decided that it was high time he began\nhis education and so he was sent to Fermo.\nThere, however, he spent most of his time\ntrying to turn pirouettes, greatly to the envy\nof his school-fellows. He remained a year at\nthis school; then his father, displeased at his\nprogress, brought him home.\nWhen Cecchetti was thirteen, a second\neffort was made to improve his education and\nthis time he was sent to a school at Florence.\nSoon after his arrival some breach of disci-\npline was committed in the class and the\nmaster pitched on Cecchetti as the culprit.\nDespite his protestations of innocence, he was\nsoundly caned. Enraged at such injustice,\nhe picked up an inkpot and hurled it at\nthe master. Then he dashed out of the class-\nroom and ran home, where he poured out\nhis woes to his father.\nThe parents began to lose heart at this\nnew set-back to their plans, for they had in-\ntended him for the legal profession. But to\nall their cajolings and reproaches he replied\nsimply that he wished to dance. So at last\nhis father sent him to the Academy of Dan-\ncing at Florence, presided over by Giovanni\nLepri, a former pupil of the celebrated Carlo\nBlasis.\nLepri was a good teacher who inspired\nhis pupils to put forth their best efforts by a\njudicious blend of praise and disparagement.\nCecchetti, now in his element, worked with\nall his might; and when Lepri gave his little\nannual ballets, that his pupils might display\ntheir progress, he danced several pas de deux\nwith his sister Pia When sixteen, he danced\nat the PagHano Theatre in his father's ballet\nNicolo di La pi.\nThis appearance led to a series of engage-\nments at small towns. At nineteen he danced\nfor a season with his father, mother and sister,\nand the year following made his debut at La\nScala, Milan, on December 31. 1870. This\nvery nearly proved his undoing, owing to a\nseries of mishaps.\nHe made his first entrance by springing\nout of a fiery cavern. To gain the necessary\nimpetus he had to clutch a couple of wires\nwhich at a signal lifted him upwards and\nforwards ; then, at a certain moment he had\nto let them go and alightgracefully to the\nstage. This moment had to be judged to a\nnicety but, through nervousness and anxiety,\nhe made a mistake and fell on his back. A\nlittle later he had to run close to the foot-\nlights, but the prompter's candle had dropped\ngrease, which the dancer failed to see; he\nslipped and a second time found himself on\nhis back. In the next act, just as he was\nabout to begin his great number, which in-\ncluded a number of pirouettes, a terrific crash\nresounded through the house. It was an oil\nchandelier fallen behind the scenes and the\nfluid began to trickle over the boards. There\nwas no time to draw back and Cecchetti,\nfilled with misgivings, launched himself into\nhis dance, in the course of which he executed\nthirty-two \" turns \" in succession,-crossing from\none side of the stage to the other. This tour de\nforce was received with a storm of applause.\nFrom then onwards his career was one\nof increasing fame. In the course of the next\nfew years he visited Copenhagen, Norway,\nHolland, Germany and Austria. In 1874, he\nsigned a contract to dance at St. Petersburg,\nwhich he revisited several years in succession.\nDuring the engagements he fulfilled on his\nreturn to Italy, he danced with a rising young\ndancer named Giuseppina de Maria, who had\nalso been a pupil of Lepri.\nCecchetti first danced with her at the\nTeatro Nazionale, Florence, in II Figlio di\nCheope, and on a later occasion in Manzotti's\nRolla. The exercise of their profession brought\nthe young dancers into frequent association.\nA friendship grew up between them and ri-\npened into love. They were married in Berlin\non December 2, 1878.\nIn 1885, we find Cecchetti as primo bal-\nlerina at La Scala, dancing with Emma Bessone\nand Rosa Turri in Danesi's ballet Messalina,\nproduced on January 4. A few weeks later\nhe came to London with the prima ballerina\nGiovannina Limido, to take part in the first\nLondon production of Excelsior, a celebrated\nballet by Manzotti, first presented at the Scala\non January 11, 1881.\nThe London production was staged at Her\nMajesty's Theatre on May 22. Though both\ndancers were received with applause, the ballet"}, {"page_pdf": 14, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 4537, "texte": "at first did not take, through bad business\nmanagement. Finally, it was taken over by\nCharles Hawtrey who had the theatre re-de-\ncorated, and then re-opened with considerable\npress publicity. A further attraction was added\nin the person of Kate Vaughan, for whom a\npas seal was specially written, and, at last,\nthe production began to draw.\nWhen the season was over, the company\nreturned to Italy, where a new production\nby Manzotti was in preparation at La Scala.\nThis was Amor, produced on February 17,\n1886, in which the principal dancers were\nAntonietta Bella, Marie Miiller, and Cecchetti.\nHis wife took the part of principal mime.\nAmor attained 44 performances, and then Cec-\nchetti went to Fermo to produce a revival\nof Excelsior.\nIn 1887 he again appeared at La Scala\nin two new ballets by Manzotti: Rolla and\nNarenta, produced respectively on January 15\nand March 13. The prima ballerina in both\ncases was Adelina Rossi. In the summer he\ncollected an Italian company and, with Mme.\nLimido as principal dancer and his wife as\nprincipal mime, he secured an engagement at\nthe Arcadia Theatre, St. Petersburg.\nThe performance consisted of a ballet by\nCecchetti entitled Le Pouvoir de TAmour\nand a condensed version of Excelsior. The\nsuccess of the latter fired the managers with\na resolve to mount the whole ballet. But as\nthe smallness of the stage made this impos-\nsible, another of Manzotti's ballets, Sieba, was\nchosen. This season was most successful, and\nfrequently the audiences included the most\nnoted Russian dancers. At the final perfor-\nmance, busts of Mme. Limido and Cecchetti\nwere placed on the stage and crowned with\nlaurels by Russian artistes\nAs a result of this triumph Cecchetti was\ninvited to become a member of the Imperial\nTheatre in the capacities of premier danseur\nand professor of dancing, which he accepted.\nHe made his first appearance at the Maryin-\nsky Theatre in The Tulip of Haarlem, ar-\nranged by L. Ivanov, his partner being V. A.\nNikitina. This was followed by L'Ordre de\nRoi, in which he danced with the famous\nVirginia Zucchi. His reception was a repe-\ntition of that accorded to him at the Arcadia.\nTo appreciate the foil measure of this success\nit must be remembered that the Imperial Ballet\nat this time had attained a standard of tech-\nnique and mimetic ability which, considered\nin the mass, has probably never been equalled\nin the history of dancing, largely due to the.\ninfluence of the choregraphe Marius Petipa.\nDuring the next year, Cecchetti assisted\nin the revival of several old ballets, including\nPerrot's Katarina, ou la Fille du Bandit. The\nRussian engagement was very satisfactory to\nCecchetti, because it left him free in the sum-\nmer to accept other engagements. Paravic-\ncini, the agent for Blondin, who had seen\nCecchetti in Excelsior, secured his services for\nthe Empire, where he appeared in Rose\nd'Amour (1888), Orfeo (1891) and Versailles\n(1892), all of which ballets were arranged by\nMme. Katti Lanner.\nAmong Cecchetti's creations in Russia\nspecial mention must be made of his appea-\nrance in La Belle au Bois Dormant, pro-\nduced at the Maryinsky Theatre on January\n3,1890. In this he doubled the parts of Ca-\nrabosse and the Blue Bird. For two acts he\nwas a malignant, hump-backed v/itch with\ndragging gait; in the last he was a handsome\nyouth who danced a Variation which has be-\ncome a classic.\nIn 1902, Cecchetti was offered the post of\ndirector and maitre de ballet to the Imperial\nSchool of Ballet, Warsaw. It is probable\nthat, being so attached to St. Petersburg, he\nwould never have accepted this invitation, but\nhe had just quarrelled with a new director of\nthe Maryinsky Theatre and sent in his resig-\nnation.\nThe school at Warsaw was not in a good\nway. Its development had been fettered by\nan official passion for economy. Cecchetti, how-\never, succeeded in obtaining an increased\ngrant from St. Petersburg, and stimulated a\nhealthy rivalry by inviting some of the rising\ndancers at the Maryinsky, such as Pavlova, to\ndance at Warsaw. From time to time, many\nof the great dancers such as Kschesinskaia,\nPreobrajenskaia, Sedonva and Trefilova also\ndanced there.\nIn addition to his work as professor of\ndancing, he produced a number of ballets of\nhis composition, for instance After the Ball,\nPiplet and Eve.Fie remained in Poland for\nsome three years until, finding it difficult to\nwork under the growing revolutionary tendency,\nhe returned to Italy and settled in Turin*.\nThere he gave lessons and sometimes went to\nMilan and Rome to superintend productions."}, {"page_pdf": 15, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4587, "texte": "Nevertheless, constantly haunted by his\nmemories of St. Petersburg, he decided to\nreturn there. Implored to give lessons, he\nopened a school and was soon as busy as\never, training dancers and producing ballets at\ndifferent Russian towns.\nWhile on a visit to Moscow a friend took\n„ him to the theatre to see the debut of Anna\nPavlova, who had not been trained by him.\nAfter the performance he was asked for his\nopinion, which he gave with his usual frank-\nness. The friend passed on his remarks to\nthe dancer who presently herself came to see\nhim. As a result of their conversation she\ninvited him to become her sole teacher for\nthree years. He protested the claims of his\nschool, but Pavlova made him a handsome\n. offer and, having formed a high opinion of her\npossibilities, he accepted.\nIn 1909 began the new ballet movement\ninstituted by Fokine, the progress of which\nwas eagerly watched by Diaghilev and Be-\nnois. It was resolved to show Russian ballet\nabroad. A company of dancers was formed\nand the first season given at Paris. The re-\nsult was so successful that Diaghilev began\nU preparations for a second season, but in the\nmeantime Pavlova had formed a company of\nher own and he was left without a premiere\ndanseuse. He asked Karsavina to take this\nposition, but she did not wish to interrupt the\nlessons she was receiving from Cecchetti; the\nsame reason was pleaded when Diaghilev\nsought to obtain the services of certain other\ndancers. This decided him to ask Cecchetti\nto join his company, for he would then not\nonly secure the dancers he required, but also\na maitre de ballet and mime of genius.\nCecchetti's association with Diaghilev las-\nted some fifteen years in all. During this\ntime he maintained the company's technique\nat a high standard, so that its members should\nI be fitted to meet the demands made upon\nthem in turn by Fokine, Nijinsky, Massine,\nNijinska, and Balanchin. He strengthened\n\" muscles and joints that had become weak\nthrough over use, and those who could barely\nrise from the ground he taught to fly. How\nmany dancers owe to his care that ease of\nmovement which must be attained before the\n< dancer can become an artist!\n. In 1913, his association with Diaghilev\nsuffered a short break, for he accompanied\nPavlova on her American tour. But no sooner\ndid he return than Diaghilev came to claim\nhim. Then the Great War broke out and\nthe company departed for South America.\n1 here is no space here to follow their wande-\nrings, their painful tours over Spain until, after\nendless difficulties and hardships, they returned\nto London in 1918, where a season had been\narranged at the Coliseum.\nAt this time Cecchetti, weary of journey-\nings by land and sea, decided to reside in\nLondon. He opened an Academy of Dan-\ncing in Maiden Lane which he presently trans-\nferred to 160 Shaftesbury Avenue, where\nhe continued to teach until 1923, when a suc-\ncession of aches and pains made him long\nfor the sun of Italy. Used as he was to the\ncold, dry air of Russia, the dampness of se-\nveral London winters had begun seriously to\naffect his health, and he was not sufficiently\ncareful to protect his constitution. Often he\nwas so busy in his school that he worked\nfrom nine in the morning till six at night,\nsubsisting on a banana and a few biscuits,\nno fit diet for a man over seventy.\nYou are to imagine a visit to his arcanum\nof the dance.\nWe go up a flight of narrow, well-worn\nstairs ; then along the landing at the end of\nwhich is a door. We turn the handle and\nenter into a large rectangular room. There\nis no furniture, save at the far end opposite\nthe door. There, from right to left, is a piano,\na fireplace, a large mirror, a revolving chair,\nanother fireplace, a table on which stand vases\nfilled with flowers and, lastly, a comfortable\nsettee. Along the three remaining walls runs\na wooden bar. The walls are white with a\nblack skirting. The room is lighted by four\nlarge windows covered for half their height\nwith a glazed, transparent paper, patterned\nwith roses and their leaves. On the walls\nhang innumerable pictures of Karsavina, Pav-\nlova, Trefilova, Nijinsky and many others whose\nnames are the history of the Russian ballet.\nPresently maestro Cecchetti enters with a\nrapid, impulsive step. He exchanges saluta-\ntions with a quick nod of his head and twinkle\nof his eyes. He doffs his coat, seats himself in\na chair, takes in his right hand a thin Malacca\ncane with a curved handle and prepares for\nthe morning lesson.\nFrom an adjacent dressing-room stream\nforth a number of girls and young women ;\nsome in vari-coloured tunics, others in the"}, {"page_pdf": 16, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4673, "texte": "conventional ballet skirt. In turn they exchange\nkisses on both cheeks with the maestro and\nthe lesson begins with exercises at the bar,\nfollowed by centre practice and exercises on\nport de bras, adage and aliegre.\nThe relation betv/een professor and pupils\nis that of a father and his children, but the\nmaestro is none the less exacting. He con-\nducts the lesson with the discipline and rigour\nof a drill-sergeant. Whistling an appropriate\nmelody to each movement he emphasises the\ntime with vigorous taps of his cane, which\nstrikes the floor with the precision of a me-\ntronome. From time to time he rises from\nhis seat to correct the curve of an arm, the\nposition of a leg. His movements are expres-\nsive of his criticism. Skilful execution causes\na faint smile to flicker over his lips ; he bows\nhis head, which continually nods with plea-\nsure. A careless movement and he springs\nupright with an angry shout, to let fly a stream\nof Italian words, the precise meaning of which\nit would be unwise to guess at.\nWhen the Diaghiiev company made its\nperiodical visits to London, both Cecchetti\nand his wife took those parts which they made\nfamous ; and the members of the troupe did\nnot fail to attend the classes in order to fur-\nbish up their technique.\nAt six or half-past he would repair to his\nabode, a first-floor flat above a tobacconist's\nshop in Wardour Street, where an excellent\nmeal, prepared by his wife, invariably awaited\nhim. The dining room, like his studio, ra-\ndiated an air of homely comfort. By the\nwindow stood a piano, the top groaning under\nbronze statues of dancers, vases of flowers and\npiles of music. The mantel piece was crow-\nded with signed photographs of dancers.\nThere were several comfortable chairs, a table\ncovered with a chenille cloth and a massive\nside-board on which gleamed bottles of wine\nand more vases of flowers. From the ceiling\nover the table hung a cluster of electric lamps\nwhose illuminating power was positively blin-\nding. Cecchetti, so long accustomed to the\nglare of the footlights, seemed to insist on\na like brilliance in his home.\nHere I must insert a personal reminiscence.\nSince 1912 I have taken a great interest\nin the art of ballet. I cannot remember when\nfirst I made Cecchetti's acquaintance and was\ninvited to watch his classes; but I know that\nfrom the very beginning I was profoundly im-\npressed by the manner and spirit of his teach-\ning which had a definite system, obviously\nthe result of years of experience and cogita-\ntion, which required the harmonious develop-\nment of the whole body. Furthermore, the\nresults were obvious, a school that could pro-\nduce dancers of the quality of Pavlova and\nNijinsky compelled admiration. And when I\nsaw this method applied to British material\nwith remarkable results I felt it most desirable\nin the interests of dancing in general and of\na possible future British Ballet in particular,\nthat the Cecchetti method should be preserved,\nfor all time if possible.\nI consulted with Idzikowsky, one of his\nbest pupils, in regard to my project, with a\nview to obtaining his assistance. He was\nmuch interested and we made a beginning.\nBut, as the work progressed, I must confess\nthat, more than once, I thought of abandoning\nthe whole project, the difficulties seemed in-\nsuperable. It took me hours to set down in\nsimple language the most elementary move-\nment, though Idzikowsky performed it innum-\nerable times; for it was necessary to see and\nkeep track of a dozen things at once: the\nposition of the head, the poise of the body,\nthe grouping and movement of the arms, legs\nand feet.... the details seemed endless. Then\nin due course Idzikowsky had to go abroad\nwith the Diaghiiev Company and I was left\nto myself. We tried to continue by corres-\npondence, but this was not altogether satisfac-\ntory.\nOne day I spoke to Cecchetti of the book\nin hand. He was greatly interested and of-\nfered to supervise and assist, that the book\nmight be brought to a completion. And so,\nwhenever he had a free evening, I used to\ngo and work with him from seven till mid-\nnight. For more than two years the work\nstruggled on and at last it was finished.\nI shall always remember those evenings at\nWardour Street. Both Cecchetti and his-\nwife were kindness personified. They had\nnothing of the lofty airs and graces which\ncharacterise petty talents; every visitor, whether\nshe were a little child learning her five posi-\ntions or a premiere danseuse of international\nreputation, received the same genial welcome.\nNo sooner did one cross the threshold than\nMadame would proffer a box of chocolates or-\na jar of biscuits, or Cecchetti would pour out\na glass of Vermouth. Then he would talk"}, {"page_pdf": 17, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4552, "texte": "while Madame sat sewing by the fire ; and\npresently their cat, Mami, would scramble up\non the table and listen with eager ears and\nwise eyes.\nFew teachers can have been more loved\nby their pupils than was Cecchetti. He was\nalways ready to play father-confessor to them\nall. They sought his advice on both private\nand business affairs, and, leaning back, with\nhands together and fingers touching in the\nclassical pose of Sherlock Holmes marshalling\nhis deductions, he would deliver judgment\nlike a second Solomon. He was always plain-\nspoken and those who had not known him\nlong and sought his sympathy in regard for\nsome misdeed were speedily disillusioned.\nHis criticism on dancing was equally\nblunt. If a dancer's work pleased him he\nwould say \" C'est bien but if it did not,\nit was termed \" horrible ! \" He preferred\nthe technique of the classical ballet to all other\nstyles and deeply resented any attempt to de-\npart from its great traditions. 1 he various\nefforts made from time to time to direct cho-\nregraphy into new channels excited his deri-\nsion, as witness his reply to Diaghilev, when\nasked for his opinion of Nijinsky's production\nof Le Sacre de Prinkmps.\n\" I think the whole thing has been done\nby four idiots. First: M. Stravinsky, who\nwrote the music. Second: M. Roehrich, who\ndesigned the scenery and costumes. Third:\nM. Nijinsky who composed the dances.\nFourth: M. Diaghilev, who wasted his money\non it.\nSo far as work on the book was concerned,\nthe conversation was mostly in French, while\nI made my notes in English. Now and again\nCecchetti would be at a loss for a word and\ngive its equivalent in Russian or Italian which\nI could follow seldom. Things did not always\nproceed smoothly, for he had a quick temper\nand at the shortest notice would fly in such a\nrage that, literally, lightnings seemed to flash\nfrom his eyes. But the storm generally ended\nas quickly as it had begun, to be accompa-\nnied by a smile of such beauty that all diffe-\nrences were at once forgotten.\nSometimes, generally towards ten o'clock,\nhis head would nod and he would fall asleep;\nfifteen minutes later he would wake up and\n- calmly take up the conversation at the exact\npoint it had been broken off. One feature of\nthese evenings was a cup of black coffee made\nby Cecchetti himself, of such potency that it\naffected one like an electric shook.\nFrom time to time, in the explanation of a\nmovement, Cecchetti would recall the move-\nments of one or other of the countless dancers\nhe had known ; this would lead to anecdotes\nof some phase of his theatrical life which he\nwould relate with rare gusto. On such oc-\ncasions it was easy to imagine what magnifi-\ncent performances the actors of the Ccmmeaia\ndell'Arte must have given. A wink, a sniff,\na pursing of the lips, a scratching of the ear,\na tapping of the nose could, in his hands,\nsupply all the elements for the telling of a\ntale without words.\nAt this time he was a little below me-\ndium height and in figure not unlike a slighter\nversion of Mr. Pickwick. His back was broad,\nbut a little rounded. He had a fine large\nhead, fairly covered with white hair which he\nwore close-cropped. He was, however, some-\nwhat bald where the crown met the fore-\nhead. His plump, clean shaven features were\nthe colour of old ivory, save for a slight rud-\ndiness at the cheek-bones. His eyes were\nblue-grey, very bright and alert like those of\na bird, and they sparkled with a fatherly be-\nnevolence or a whimsical air of mockery, ac-\ncording to his mood.\nThe baldness 1 have mentioned seems to\nhave come upon him at an early age, for this\nis clearly shown in a photograph of him taken\nat the time of his performing in Amor. Pos-\nsibly it was the outcome of the continued\nwearing of theatrical wigs. This same pho-\ntograph shows him wearing a moustache as\ndancers did in those days.\nThe Cecchetti method of training having\nbeen committed to paper, it seemed to me\nmost desirable that some society should be\nformed to propagate it and explain its merits\nto dancers and teachers who might be inte-\nrested. 1 discussed the matter with a number\nof well-known British dancers who had been\ntrained in his school and in 1922 the Cec-\nchetti Society was formed. The committee\nconsisted of Margaret Craske, Derra de Mo-\nroda, Ninette de Valois, Jane Forestier,\nMollie Lake and myself, with Maestro and\nMme. Cecchetti as President and Vice-Pre-\nsident. The Society, which amalgamated\nwith the Imperial Society of Teachers of Dan-\ncing in 1924, is still very much alive and\nanyone who seeks justification for its existence"}, {"page_pdf": 18, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4442, "texte": "has only to study the record of its achieve-\nments.\nIt is rare that an artist has achieved\nworld-wide renown in more than one branch\nof his art, but Cecchetti was a fine dancer,\na mime of genius and undoubtedly the grea-\ntest teacher of the age in the technique of the\nclassical ballet.\nAs an artist he is best known in this\ncountry for the many roles created by him\nduring his long association with the Diaghilev\nCompany. How well one remembers his\nGrand Eunuch in Scheherazade, his Pantalon\nin Le Carnaval, his Kostchei in L'Oiseau de\nFeu, his Magician in Pe his Marquis\ndi Lucca in The Good-Humoured Ladies and\nhis Shopkeeper in La Boutique Faniasque.\nThe first was a doddering old man who\nwaddled to and fro, his fat pendulous cheeks\ncreased in a fatuous smile. Do you remember\nthe rapacious joy with which he fondled the\nmass of jewels which was the price of his\nreleasing the negro slaves; then his terror at\nthe return of the Shah, the rolling eyeballs,\nthe horrible writhings of his body as four of\nthe eunuchs choked out his life ?\nThe second was a brisk, agile, pompous\nlittle man in fawn coat and yellow trousers\nwith a single green stripe down each side;\nso conceited, so much a man of the world\nthat he suggested he had but to twirl his\nwaxed moustache to bring any lady to his feet.\nThe third was a mighty enchanter, with\nscaly limbs and claw-like hands ; a demon\npossessed of the power to turn to stone any\nthat dared to enter his domains.\nThe fourth was half-magician, half-show-\nman, v/ho caused three puppets to dance\nto the strains of his flute. Do you re-\nmember how cruel he was to Petrouchka,\nand how, when Petrouchka was killed by the\nMoor, he dispelled the growing suspicion of\nthe crowd that murder had been done, by re-\nducing the prostrate figure to a thing of wood\nand sawdust ?\nThe fifth was a nobleman of the eighteenth\ncentury, old and deaf, precise and courteous,\nwho walked a little unsteadily, possibly from\ntwinges of the gout. But his vision was never\nso dulled but what it lighted up at the spec-\ntacle of a rosy-cheeked maid or a dusty bottle\nof wine.\nThe sixth was a round figure in white\ndrill and panama hat, in turn obsequious and\nbullying to his customers, exciting their curio-\nsity by a hundred gestures and suggestions of\never greater marvels to come, the while he\nbounced from one to the other with all the\nresiliency of a rubber ball; the whole cha-\nracter was conceived in such a spirit of quaint-\nness and fun as to be inimitable.\n1 recall one very affecting occasion when\nThe Sleeping Princess, an adaptation of La\nBelle au Bois Dormant, was given at the\nAlhambra Theatre, London, on January 5,1922.\nOn that night Cecchetti appeared for one per-\nformance only in the part of Carabosse, which\nhe had created thirty-two years previously.\nThis was in celebration of the fiftieth anni-\nversary of his public career.\nSome days previously a deputation from\nthe company asked me to prepare for them\nsome brief address to Cecchetti which all\ncould sign. 1 planned a vellum scroll to be\nheaded with portraits in water-colour of Cec-\nchetti in his most famous roles, below this\ncame a short address, the precise phrasing of\nwhich I forget. The scroll was laid between\ntwo pieces of silk, the lower green, the up-\nper red.\nMy friend Schwabe painted the figures,\nwhile the text was written out by a scribe.\nAs soon as this was done the scroll was\nhurried to the stage-door of the Alhambra\nand with much secrecy signed by every mem-\nber of the company. The signatures were\nso many, and so interwoven and intercrossed,\nthat at first sight the scroll resembled a piece\nof black lace.\nAt the end of the second act, when Cec-\nchetti was taking his call, the curtain was\nraised and he was presented with many sou-\nvenirs of the occasion by his fellow artists.\nAt last the curtain was lowered and then a\nmoving scene was enacted. Imagine some\nhundred dancers grouped in a circle. In the\ncentre stood Cecchetti and opposite him one\nof the company v/ho read out a long speech\nin Russian, which set forth his history, his\ntriumphs, the love and honour they bore him\nas a great artist and kindly teacher and, last-\nly, their congratulations to him on that night\nof his jubilee. The old man listened with\nbent head then, as the words conjured up\nvision after vision of dancers ; some passed\ndown the long valley, some too old to dance,\nsome he had known as children and who\neven then were standing by his side ; his"}, {"page_pdf": 19, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3263, "texte": "eyes became dimmed and the rough texture\nof his grease-paint was furrowed by a hot\ntear. He was embraced, kissed by all, lif-\n~ ted shoulder-high and carried in triumph to\nhis dressing-room.\n• 111\nThe teacher's merit is proved by the\nquality of his pupils. Egorova, Karsavina,\nKshesinskaia, Lopokova, Nijinska, Pavlova,\nPreobrajenskaia, Sedova, Smirnova, Trefilova,\nIdzikowsky, Lifar, Massine, Nijinsky—all re-\nceived much or all of their training from Cec-\nchetti.\nin 1923 his health grew worse and he\ndecided to return to Italy. For several days\nthere were many sad leave-takings and one\nmorning he was gone. How empty London\nseemed for lack of that rounded figure.\nIn a little while he wrote to me. He\nhad been seriously ill but gradually his health\nhad improved, largely due to the devoted\nnursing of his wife. A few months passed\nand I received another letter telling me that\nhe and his wife were preparing to settle down\nin Milan, to live quietly and keep in touch\n- with their children who resided near them.\nI felt that it was most unlikely that he\nwould be able to forego his long association\nwith the theatre, which to him was the breath\nof life. Thus I was not surprised to learn a\nlittle later that he had accepted the post of\ndirector of the School of Ballet attached to\nLa Scala. From time to time some of his\nnew pupils would come to London always\nbringing good news of the old master. His\nhealth, however, occasionally gave cause for\nalarm for it appeared that now and again he\nsuffered from fainting fits.\nLast year he suffered a severe shock through\nthe death of his wife on October 23. This\nparting with the one he called '' the angel of\nmy life\" affected him greatly. Yet, although\nthe sense of his loss deepened with the pas-\nsing of each day, he continued to give his\nlessons. Now and again his thoughts would\ndwell on death and he would express a de-\nsire that he might die, as he had been born,\nin the theatre. His wish was granted.\nOn November 12 last, he left his home\nat 8 o'clock and v/ent to the Scala to give\nhis usual morning lesson, which began at 9\no'clock. At first, all went well; then some\nmovement displeased him and he cried : \" No!\nNo ! It is not so ! \" He protested, scolded,\nthen began to cough violently. His legs\ntrembled ana ne sank into a cnaw. He smi-\nled apologetically, gasped and fainted. A\ndoctor was called ; his sons and brother were\nhastily summoned. But as the stricken old\nman made no movement, he was taken to\nhis home. He never recovered consciousness\nand expired a little before dawn of the next\nday.\nCecchetti is dead, but his name and his\nteaching will endure so long as the art of\ndancing exists. Already many tributes have\nbeen paid to his memory. His pupils at the\nScala knelt in homage before strewing his\ncoffin with flowers. On November 13, the\nsad news was received by the Diaghilev\nCompany, then dancing at Manchester ; the\nsame evening when Lifar danced in Les Syl-\nphides, he wore a black scarf in token of the\ncompany's grief at the passing of their che-\nrished friend and teacher.\nFor the present there is none worthy to\nassume the mantle of Cecchetti. He was\none of those great artists who appear not\nonce in a generation, but only at rare inter-\nvals in the world's history of the theatre."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c017", "article_bluemountain": "bmtnaau_1928-10_01#c017", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "153", "page_fin": "153", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.9.1", "titre_corps": "A SILHOUETTE BY CHODOWIECKI", "titre_sommaire": "A SILHOUETTE BY CHODOWIECKI", "signature_source": "CHODOWIECKI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.19", "debut_caractere": 3265, "fin_caractere_exclue": 3293, "texte": "A SILHOUETTE BY CHODOWIECKI."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c018", "article_bluemountain": "bmtnaau_1928-10_01#c018", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "154", "page_fin": "161", "image_debut": 20, "image_fin": 27, "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=bmtnaau192810-01.2.10", "titre_corps": "THE LIBRARY OF A COMEDIAN : J. P. HARLEY, 1786 – 1858", "titre_sommaire": "THE LIBRARY OF A COMEDIAN : J. P. HARLEY, 1786 – 1858", "signature_source": "PAUL Mc PHARLIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 3980, "texte": "THE LIBRARY OF A\nCOMEDIAN ; J. P. HARLEY,\n1786 - 1858.\nBY PAUL Mc PHARLIN.\nTHERE was some surprise when John Prilt\nHarley, popular comedian, and reputed\nto be well-off, died without leaving a penny.\nBad investments and reckless speculation were\nthought to be the causes. But Harley was\na level-headed man ; he worked steadily and\nlived comfortably. If nothing remained, upon\nhis death, but his house and goods for the\nelderly sister who survived him, perhaps he\nhad been shrewder in the conduct of his af-\nfairs than people imagined.\nAuction catalogues of the effects of late\npersons reveal to public curiosity all too grate-\nfully the details of their living. That of\n\" the Excellent Furniture, Theatrical Prints\nand Portraits, the Literary ad Dramatic Li-\nbrary of Books, a collection of interesting\nAutograph Letters, Play Bills, Music and\nthe Private Wardrobe of Character Dresses\nof the Late J. P. Harley, Esq., at No. 14,\nUpper GoWer Street, Bedford Square, Sold\nby Auction by Mr. Rob :ns, on the Premises,\non Tuesday 23 November 1858, and Two\nfollowing Days, at Eleven for Twelve o' Clock,\nby Order of the Administrator \", is not a dis-\nappointing exception. Harley left no volume\nof reminiscences ; biography writers were con-\ntent to pass over this actor's life. But one\nmay turn to the 38 pages of this pamphlet\nand see the bare truth about him.\nWhat sort of a house was No. 14, Up-\nper Gower Street ? Doubtless one might ask\npermission of Sir Anthony Hope Hawkins,\nthe novelist and dramatist, who now lives\nthere (according to George H. Cunningham's\nLondon) to go through the rooms and gar-\nden, for there is a garden with a coach-\nhouse at its end, as may be seen in Hor-\nwood's Plan, plate 2c, down in the corner\n(Ihe Mcsk, volume Xll). It is the last but\none at the end of the street on the east side,\nand at the conclusion of the eighteenth cen-\ntury was still surrounded by open fields. But\nthat would be imposing on Sir Anthony\nHope Hawkins, and here is the catalogue to\ntell us of a basement with its front and back\nkitchen and larder, a ground floor with its\nstair hall, dining room and library (called also\nback parlour), its first floor with front and back\ndrawing rooms, its upper floor with front bed-\nroom, small back room, and back bedroom,\nits second floor with front bedroom, adjoining\ndressing room and back bedroom, and its attic.\nRather a large house for a bachelor and his\nsister who, I suppose, kept it neatly running.\nBut a house in which to entertain freely.\nThe furnishings were comfortable and\nold-fashioned, pieces in the Sheraton and\nEmpire style, most likely: \" a drawing room\nsuite in rosewood and blue Merino damask ;\n\" card, centre and occasional tables, chiffon-\n\" niers, suspending lamps, twelve capital -\nmahogany chairs in marone leather, set of\n\" extending dining tables, cellaret, two 5-feet-6\n\" mahogany glazed bookcases, a 9-feel pain-\n\" ted ditto, large Turkey and Brussels car-\npets, mahogany four-post and iron bed-\nsteads and bedding, wardrobe, marble top\nwash stands and the usual bed chamber\n\" articles & culinary requisites \", besides\nchimney glasses and a horizontal semi-grand\npianoforte by Tomkinson. To these were\nadded plenty of books, prints in frames and\nportfolios, Chelsea and Dresden figures,\noriental china, vases \" and nicknacks and\nsouvenirs of the stage. Very comfortable, yes,\nalmost luxurious.\nNo doubt of it Harley was of the cosy\nmiddle class ; one might expect just such a\nhome to belong to the son of John Harley,\ndraper and silk mercer. But John Pritt was\nnot enough his father's son to be long con-\ntent apprenticed to a linen draper. Nor did\nhe settle down as a clerk to a law fiim. Care-\nfully cherished play bills (bundled up,\nperhaps in lot number 243 : A large quan-\ntity of play bills, various; or pasted into 27 :\nAn album, containing critical reviews from\nnewspapers, play bills and benefit tickets) re-\nveal that his clerkly chores were livened from\n1802 onward by appearance at night in ama-"}, {"page_pdf": 21, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4035, "texte": "teur theatricals at the Private Theatre, 97,\nBerwick Street. On these bills may be seen\nthe names of Oxberry, Huntley, W. H. Wil-\nliams and Ellen Tree, ail of whom he later\nplayed with professionally.\nEncouraged by enthusiastic friends, he re-\nlinquished aspirations to the bar (with a sigh\nof relief) and set out to act in the provinces\nin 1806. Few playbills were preserved from\nthe ensuing nine years—at any rate none are\nspecifically listed in the catalogue—when Har-\n-ley received the thorough grounding in tech-\nnique, business and artistic, that assured his\nsuccess upon his return to London.\nThe following items now take up the\nstory:\n29. Folio books of music, Operas, &c. 6\n30. Four ditto Operas and 5 ditto mus-\nicstl Farces /\n31. The Art of Singing, by Crevelli, I;\nPreludes and Studies, I; Lanza's Ele-\nments, 1. and 5 books of music 8\n32. Seven books of manuscript music and\nsundry loose music\n105. Covent Garden Play Bills, seasons\n1805 to 1813 (wanting 1808), 7;\nHaymarket Bills, 1808-9, 27 and zB,\n3, and English Opera, 1815 to 18, 4 14\nOn 15 July 1815 Harley had made his\ndebut at the English Opera House as Mar-\ncelli in The Devil's Bridge, a woik by Ar-\nnold, the manager of the theatre. His slight,\nlithe figure (they had called him \" Fat Jack \"\nin the provinces) and his pleasing counter-tenor\nwith which he \" executed cadenzas with\ngrace and effect\" brought him favour. Du-\nring the remainder of the summer he acted\nand sang light comedy roles in the repertory\nand gained attention for his work.\nHe was now twenty-nine. His schooling\nhad ceased before he was sixteen, and the\nsubsequent years had been too busy for much\n-study. Assured of a more or less permanent\nstay in London, he felt that he could acquire\nthe books that weigh heavily in an itinerant's\nbaggage. And so he began to buy instruc-\ntive works, following them with zeal for a\n, period, then discarding them and beginning\nafresh. The self-educated man, whether or\nnot his learning count for more than that of the\nschooled, in the long run retains only what\nhe wishes to, and so is on a level with him\nwho went through the formalities of a well-roun-\nded curriculum.\nLet us see what informative things Har-\nley came by:\n1. Sharpe's Peerage, 2 ; Moore's Alma-\nnack, 1818 to 1831, 2; Imperial Ca-\nlendar, 27; Court Guides, 19, and\nBlue Books, 9 59\n2. Sundry school and other books 20\n4. Smith's Philosophy of Health, 2, and\n15 Medical, books, various 1 7\n9- Fliigel's German and English Dictio-\nnary, cloth 2\n14 bis. Fables de Florian, 1 ; Dizionario\nde Sinonimi, 2 parts ; Loudon's Dic-\ntionnaire Frangais, in numbers, and\nsundry French novels\n26. Ollendorff's Method of Learning\nFrench and Italian, 2 ; 6 Bvo and\n1 1 smaller books, bound 19\n51. Hone's Every Day Book, 2; Year\nBook, 1, and Table Book, 2 5\n53. Baretti's Italian Dictionary, 2 ; Grant's\nLatin Grammar, 1; Crabb s Syno-\nnyms, 1, and 4 others 8\n54. Laveaux Dictionnaire de Difficultes,\n2 ; Nouveau Dictionnaire Universel,\n2; Pybus' French Grammar, 1; Gram-\nmaire des Grammaires, 2, and Chefs\nd'Oeuvres of French Literature, 2 9\nThere are also the French dictionaries\nof Cobbett, Fleming and Tibbin, Dufief,\nDe La Voye, Chambaud, Boyer, D Alberti\n(this French and Italian), and Laudais, be-\nsides another Italian dictionary or two. It will\nbe seen that these were put to good use.\nHere are some more reference books (the\nlots sometimes baited with livelier matter) :\n55. Tarver's Phraseological Dictionary 2\nparts ; Brande's Dictionary of Science,\n1; Haydn's Dictionary of Dates, 1,\nand Latin Roots, 1 5\n65. Watts on the Mind, 2 ; Rolandi Tea-\ntro Italiano, 2 ; Hogarth's Musical\nLibrary, 2 ; Fugitive Pieces, 4, and\n21 French and other books, various 3 '\n85. Rollin's Ancient History, neat calf gilt 7\n86. Rollin's Roman History, bound to match 10\n87. Rollin's Belles Lettres, 3, and Arts\nand Sciences 3\nen suite 6\n88. Hume, Smolletand Adolphus His-\ntory of England, neat calf gilt 16\nThis title is italicized because it was pro-\nbably expected to bring a handsome price\nunder the hammer."}, {"page_pdf": 22, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 3818, "texte": "89. Paley's Modern Philosophy, 2 ;\nMoore's Zeluco, 2, and Smith s\nWealth of Nations, 3 7\n111. Knox on Education, 2 , Mirror 3;\nParker's High and Low Life, 2, and\n4 others 11\n127. Crell and Wallace's Oracle of Health,\n6, and 5 Medical books, various 1 1\n1 33. The Encyclopaedia britonnica, Edin-\nburgh, 1823, 20, and Supplement 6,\nhandsome russia gilt 26\n134. Johnson's English Dictionary, 1785,\n2, russia, and Home Took's Divers-\nions of Purley, 1805, 2 parts, calf gilt 4\n135. Crab'o's Historical Dictionary, 2,\n1825, & Technological Dictionary,\n2, 1823, russia gilt 4\n136. Johnson's English Dictionary, by the\nRevd. H. T. Todd, London, 1818 4\nAnd a formidable array all these made\nupon shelves, but we are coming shortly to\nbooks that received more wear.\nOn 16 September 1815, we see by con-\nsulting the bound play bills, Harley made his\nfirst appearance upon the stage of Drury Lane\nas Lissardo in Mrs. Centilivre's Won-\nder : A Woman Keeps a Secret. In the cast\nwere also Messrs. Rae, Penley, Barnard,\nHolland, Gattie and Palmer, Mmes. Glover,\nOrger, Scott, and Miss Kelly, famous prin-\ncipally because Charles Lamb loved her.\nWith an occasional trip into the provinces,\nHarley now remained at Drury Lane until\nlate in the fall of 1835. He took over the\nline of business of John Bannister, who reti-\nred the year he came to the theatre ; the\ntwo were friends until Bannister died in 1836,\nleaving Harley a gold mourning ring for Da-\nvid Garrick (under whom Bannister had stu-\ndied) and a Shakespeare silver jubilee (1769)\nmedal mounted as as snuff box. These went\nas lot No. 518, and brought j£. 2-17-6 at\nthe sale in 1858. At the sa,me time he in-\nherited other mementoes of Garrick, to be\nlisted later.\nNow what were the dramas he read ?\nShakespeare he had in these editions :\n36. Shakespeare's Plays, London, 1623,\nwith portrait, half bound 1\n95. Knight s Pictorial Shakespeare, ele-\ngant calf gilt 8\n128 bis. Johnson and Stephens' Shakes-\npeare, 1793, elegant 15\n130. Reed's edition of Shakespeare, 1813,\nhandsome calf gilt, formerly presented\nto Edmund Kean by the Honourable\nDouglas Kinnaird 21\nHow modestly the first folio is recorded,-\neven without the italics of the showy more\nmodern editions! Collectors had not then\nmade first folios articles of commerce; they\nwere read by those who liked to read\nShakespeare. That was only seventy years\nago. I have seen half a dozen first folios go\nup at auction during a New York season,\nbringing higher and higher prices. When\nthese unhappy trafficked-about volumes are\nnot in the auction room they are under glass,\nor even the steel of safes, symbols of value\nlike paper money.\nTo resume:\n\\24. Beaumont and Fletchers\nelegant 1 Q\n125. Jonson's Works, by Murphy, elegant 12\n94. Massinger's Plays, 4; M. G. Lewis'\nPlays, 2, and Jackson's Scottish\nStage, 1 7\n16. Congreve's Works, 3; G'Keefe's\nDramatic Works, 4, and Burgess'\nRichard 1., 2 9\n6. Goldoni, Commedie 25\n42. Oeuvres de Moliere, 1 ; Whig\nClub, 1, and Helvicus' Theatre, 1. 3\n62. Opere del Moliere, 2, and 23 tomes\nof French Novels, various 25.\n33bis. A quantity of French plays\n79. Oxberry's New English Drama, neat\nhalf bound 20\nThe dictionaries, then, were for Goldoni\nand Moliere, and perhaps for an occasional-\npuzzling expression in one of the tomes of*\nFrench novels.\nOf books on the theatre, if we include\nactors'biographies in the class, he had notafew:\n* 7. Theatrical Observer, 1821 to 1840,\ncloth, 20, and 1842 to 1850, 9, in\nnumbers, and Dramatic Musical Review,.\n1842 to 1850, 9, in numbers 38\n13. Memoirs of Charles Mathews, 4; of\nJohn Bannister, 2, and of Elliston, 2,\nneat cloth 8\n(Mathews and Bannister were both\nhis good friends).\n18. Uncle Tom's Cabin, 1; Michael\nArmstrong, 1 ; Alnwick Castie 1 ;\nSadler's Correspondence, 2; The Life\nof Macklin, 1; Thespian Magazine, 2,\nand 2 others 10"}, {"page_pdf": 23, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4182, "texte": "52. Biographia Dramatica 5\n68. The Drama, 7; Gil Bias, 4, and\n1 7 books, various 28\n70. Random Records, 2; Hill's Home\nService, 2; Schiller's Robbers, &c.,\n1 ; Bland's Proverbs, 1, and Sheri-\ndan's Dramatic Works and Life, \\ 7\n77. Collier's Annals of the Stage, 3;\nBernard's Retrospections of the Stage,\n2; Calvert and Mansell on the Dra-\nma, 1, and Davies' Life of Garrick, 2 8\n81. Reminiscences of Dibdin, 2; Life\nof Reynolds, 2; Recollections of\nO'Keefe, 2; Boaden's Life of j. P.\nKemble, 2; Mrs. Siddons, 2, and\nMrs. Jordon, 2, half bound calf gilt 12\n91. Peter Pindar's Works, 3; Records\n■j of My Life, by Taylor, 2; Aristar-\nchus, I ; Lempriere's Biography, 1 ;\nLiterary Museum, 1 ; Hazlitt's English\nStage and Poets, 2, and Cooper's\nPoems, 1 1 1\n109. Memoirs of Tate Wilkinson, 4, and\nWandering Patentee, 4 8\n3 39. Garrick's Private Correspondence,\nLondon, 1831, elegant half bound gilt 2\n143. The Royal Dramatic Record, with\nplates 1\n553 bis. Papworth, Sculptural Designs,\ncloth; G. Cruickshank's Sketch Book,\ncloth, and 2 parts; Scenic Effects of\nCovent Garden Theatre, ! 4 nos.;\nand 13 illustrated numbers, various.\n(,Recollectionscf Scenic Effects\nof Covent Garden Theatre during\nthe Season 1838-9, by George\nScharf, scenographer, records the set-\ntings and groupings at that theatre\nduring the managership of Macready,\nwhen Harley was one of the com-\npany).\nBut this last volume, indicating that our\ncomedian's interest in the theatre did not stop\nat drama and acting (though it's the only vo-\nlume of the sort) takes us ahead of the tale.\nThe years at Drury Lane would have\nbeen disastrous for an actor not capable of\nworking out his own artistic salvation. Under\nthe management of Kean all emphasis was\nplaced upon the star. Elliston, who succeeded\nhim, let every actor work out his own part,\nproviding he properly subordinated himself\nto the star and kept to the traditions. Price,\nLee, Polhill and Bunn are the names of\nfollowing managers under whom laxity and\nheedlessness increased. Drury Lane lost\nmoney, put on claptrap and spectacles, imi-\ntated from the small theatres unlicensed to\nproduce straight drama, and still lost money.\nThe decadence of the drama was bewailed ;\nmelodrama and burlesque were patronized.\nPeople always shun the dead theatre and flock\nto the live.\nThings had come to such a pass that\nHarley left Orury Lane at last and joined\nthe St. James, a new theatre built for opera,\nbut enabled by license of Lord Conyngham\nto give legitimate drama. His first appea-\nrance there was made 14 December 1835.\nThe new theatre did not prosper; Dickens\nfurnished it with two pieces that failed.\nHarley and Macready knew each other\nfrom meeting on the stage, at the Garrick\nClub, and at public functions. Macready\nnotes in his diary that in May 1833 (the\nyear Harley became a personage upon suc-\nceeding Edmund Kean as master and trea-\nsurer of the Drury Lane Theatrical l und),\n\" Harley called by appointment to talk over\nthe state of the profession \". No doubt this\nentailed a grave shaking of heads and harking\nback to the good old days, but both were men\nwilling to dp more than talk. Macready had\nno personal attachment for Harley; the epithets\n\" fool \" and \" thing \" are put down against him\nin the diary, and in March 1834 this sour passage\noccurs: ''How truly disgusting to hear men\n\" like Mr. Mathews and Mr. Harley requiring\nrespect for a profession which they in their\n\" speeches as leading members prove to be\nstored with ignorance, vulgarity and charlata-\n<! nism \". Of course Macready could quarrel\nwith the angels. And Harley was not much\ndrawn to Macready. But on 20 April 1836,\nin a meeting with Farren and Macready, he\noffered to give £ 500 toward the drama's\nregeneration; the actors were to band toge-\nther against incompetent management. No-\nthing came of this plan. However, it gives\na clue for the fact that Harley died leaving\nlittle money.\nNow we catch up with the last item in\nlot No. 553 bis. Harley went to Covent\nGarden in 1836. Macready had assumed\nits management with noble intentions and\nthe support of drama lovers. He made real\ninnovations in handling groups of actors;, he-\nsaw that work was done at rehearsals, and tooK"}, {"page_pdf": 24, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3820, "texte": "a stand as purist for Shakespeare's texts and\nhistoric accuracy in costumes and settings.\nAs spokesman for the company, Harley pre-\nsented him with an engraved salver as a\ntoken of their regard for his championship of\nthe drama, 31 May 1838. On 7 June he\npersonally offered financial assistance to Ma-\ncready, a more substantial tribute, for the\nrunning of the theatre, but was refused,\nAgain on 12 April 1839, Macready writes,\n\" Mr. Ha rley called, and with much Weeping\noffered to be security for the payments of\nmy offered £ 2000, as lessee of Covent\nGarden Theatre. I thanked him, but told\nhim I was engaged elsewhere \".\nHarley, then, had saved up a little money,\nand he was only too eager to gamble it for\nthe good cause. Meanwhile he spent a\npound now and then on literature:\n5. Childe Harold, 1; Hunt's Poetical\nWorks, 1, and 31 books, various 33\n8. Maddox's Travel's in Turkey, 2;\nD israeli's Literary Characters, 2 ;\nNational Tales, 2; Mrs. Hall's Sket-\nches of Irish Character, 2, and 5 others 13\n35. Chaucer's Works, 1721, 1, and Jon-\nson's Works, London, 1691 1 2\n(T wo fine folios, these 1)\n40. The Rambler, 1751, vellum 2\n43. Sterne's Works, 7; Pope, 2; Prayer\nBook, i, and Book of Psalms, 1 1 1\n38. Southwell's Bible, 1, and Hewlett's\nHoly Bible, part 1, vol. 1, 4to 2\n19. Common Prayer Book, 1; Psalms,\n2 copies, blue morocco; Bible, 1,\nand Viner's Psalmody, 1 5\n49. CEuvres de Rousseau, calf gilt, plates 38\n66. Swift's Works, 27 vols., wanting\n4 and 5 25\n(What graceless friend had borrowed\nvolumes 4 and 5 ?)\n74. Milton's Poetical Works, 4, neat\ncalf gilt, and Cabinet of polite lite-\nrature, 5, half bound calf gilt 9\n96. Pope's Works, neat calf 10\n97. Don Quixote, 2, and Gil Bias, 1,\nroyal Bvo, elegant calf gilt 3\n102. Chesterfield's Letters 2\n108. Boswell's Life of Johnson, 5 ; Me-\nmoirs of Foote, 3, and Foote's\nWorks, 2 10\n110. Junius' Letters, 2; Lyric Muse, I;\nHudibras, 1; Burgoyne's Works, 2,\nand 4 others 10\n(Burgoyne was a playwright as well\na general.)\n1 !4. Johnson's Edition of the Poets, 58,\nand Johnson's Prefaces, 10, neat\ncalf gilt 68\n115. The Spectator 8\n116. Gibbon's Roman Empire 12\ni 19. Sir Walter Scott's Novels and\nTales, 12, Novels and Romances, 7 ;\nHistorical Romances, 6 ; Tales and\nRomances, 14, and Introduction to\nthe Waverly Novels, 2, elegant 41\n120. Scott's Prose Works, 6, and Lock-\nhart's Life of Scott, 4, elegant 10\n121. Scott's Poetical Works 10\nHarley knew Dickens well. On 27 June\n1837 he dined at Dickens' house, and Ma-\ncready commented, \" Our evening was very -\ncheerful, and we laughed much at Mr. Har-\nley's theatrical efforts to entertain \". At the\nSt. James he saw Dickens' The Village Co-\nquettes (1836) and Is She his Wife? (1837)\nfail. On 12 December 1838 he helped de-\ncide that The Lamplighter be rejected by\nCo vent Garden. Whether Dickens presented\nhim with these copies of his books one can-\nnot say, but at any rate they were purchased\ndamp from the press :\n69. Dickens' Christmas Works, 4, cloth ;\nPictures from Italy, 1, cloth. (There\nwere books by ethers in the lot.)\n76. Oliver Twist, 3; Sketches by Boz,\n2 ; second series, 1, and Boz's Life\nof Grimaldi, 2, boards 8\n(Had Harley as a young man been a\nGrimaldi devotee ?)\n122. Dickens' Pickwick Papers and Ni-\ncholas Nickleby, 2, morocco gilt,\nand Dombey and David Copperfield,\n2, cloth 4\n132. Humphrey's Clock, illustrated, 3,\nroyal, cloth gilt, and Pickwick Pa-\npers, ditto, 1 4\nAll of Harley's books (f or his library was\nnot the display sort) were not significant nor\nclassic. Some he bought for the pictures, ■\nand some because they took his fancy :\n39. The Royal Rake, by Rede cloth 4to I\n33. The Aboriginal Portfolio, by Lewis,\n9 parts\n46. Cabinet des Fees 41\n107. Flowers of Literature, 4, and 3 others 7\n1 17. Marryat's Poor Jack, illustrated, 1,\nand The Pirate, illustrated, 1 2"}, {"page_pdf": 25, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3987, "texte": "123. Heath's Book of Beauty, 1833 to\n1837, 5, and The Keepsake, 1833-\n5-6, 3 8\n129. Heath's Picturesque Annual, 1837,\n1; Book of Beauty, 1838, 1, and\nThe Keepsake, 1838, 1, large pa-\nper, gilt leaves 3\n„ 141. Hogarth's Work, by Nichols and\nSteevens, fine plates, London, 1808,\ncalf gilt 3\n149, A large folio album of coloured\nFrench costumes, caricatures, &c.\nIn 1839 the management of Covent Gar-\nden was taken over by Mme. Vestris and\nCharles Mathews, Jr., and Harley stayed on\nwith them. This management continued gi-\nving attention to staging, and Planche, who\nhad invented burlettas for Vestris during her\nreign at the Olympic, slaved over historical\ndetails in costume. The style of acting\nbrought by Vestris from the small Olympic\nwas naturally subtler and more restrained than\nthat which had prevailed in the huge Covent\nGarden. Did Harley, natural comedian that\nhe was, become aware for the first time\nthat his methods were a little old-fashioned?\nDid he feel out of place with the new natu-\nralism ? At any rate, he went back to Drury\nLane for 184! -48, under the management of\nuninventive Mr. Bunn, and just missed playing\nin the new sort of comedy written by Dion\nBoucicault.\nBut he was sharp enough to see the turn\nacting had taken, and tempered his moderate\nstyle a few shades down. When he came to\nthe Princess Theatre in 1850, where Charles\nKean was taking his hand at doing jus-\ntice to Shakespeare, and outdoing all his\npredecessors in costuming him with accuracy\nto time and place, Harley's acting was thought\nto be perfectly unlaboured. John William\nCole, in his Life and Theatrical Times of\n• Charles Kean (1859) writes, \" It was impos-\nsible to feel dull when Harley was on the\nstage. No actor, not even Munden or Lis-\nton, ever excited more genuine laughter \".\nBy gift from his cronies or by inheritance\nthose who went before him as officers\nof theatre societies, Harley came by these\npriceless records. Are they now safely\nhoused in the British Museum, or do they\nhide in a private collection ? :\n145. The Pay Ledgers of Covent Gar\nden Theatre, from 1776 to 1787, i\nwith the weekly salaries and auto-\ngraph receipts of the different Ac-\ntors and Actresses during these pe-\nriods, folio, green vellum 10 books\n146. Ditto from the year 1787\nto 1797 10 books\n147. Ditto from the year 1797\nto 1808 10 books\n148. A ditto from 1822 to 1825, and the\nCast Book of the Olympic Theatre\nduring Madame Vestris' management.\nThese sets of play bills too, I hope,\nhave been removed from the perils of an in-\ndividual's ownership :\n236. Play bills of the Princess's Theatre,\nfrom 1850 to 1858, in bundles.\n237. Ditto, 1850 to 1857 ; a packet of\nWindsor Castle play bills and sundrv\nplay bills.\n238. Drury Lane Theatre play bills, 1812\nto 1840, bound, 27 vols., and 1845\nto 1847, 2 vols.\n239. Covent Garden Theatre ditto, 1813 to\n1841, bound, 28 vols.\n240. English Opera ditto, 1819 to 1838\nbound, 14 vols.\n241. Haymarket ditto, 1804 to 1839 (want-\ning 1807, 20, 27 and 28) bound,\n18 vols.\n242. St. James Theatre ditto, 1836 to 1838,\nbound, 3 vols., and Provincial Theatrejs]\nditto, 1810 to 1830, bound, 1 vol.\n243. Drury Lane Theatre bills, 1845, in\nbundles, Haymarket ditto, 1847-8, and\na quantity of play bills, various.\n244. Haymarket Theatre bills, from 1844 to\n1853 (wanting 1845-6), and Lyceum\nditto, 1849 to 1854, in bundles.\n250. Haymarket Theatre play bills, 1844 to\n1857 (wanting 3 seasons); Drury Lane\nditto, various, 3 bundles; Covent Garden\nditto, various, and Lyceum ditto, 3 bun-\ndles, various.\nAs one sees by lot No. 236, Harley\nstayed at the Princess for eight years, and\nbecame fixed in the public's mind as a player\nof Shakespeare's clowns. His lightness of\ntouch, learned from the days with Vestris\nand Planche (who burlesqued life, rather than\ndramatic forms, as had the older school from\nFielding to Kane O'Hara), served him in\ngood stead. The era of gaudy declamation\nwas passing. Audiences transferred their af-\nfection to character portrayal—the queerer,"}, {"page_pdf": 26, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3828, "texte": "quainter and more grotesque the better. Har-\nley was an elderly bachelor with mannerisms\nand perhaps an eccentricity or two, very char-\nming to be sure. On the stage these gave\nhis characterizations just the right touch, for\nhe knew just when to fall into them. Of his\nTouchstone, Grumio and Launcelot, a con-\ntemporary critic said, \" Their quips and their\nquiddities, their gibes and their cozenings,\nalways obtain in his speech their right aptness\nand flavour, and gain in his looks their en-\ntire illustration—that double expression which,\nas it lights up the meaning, reveals the\nenjoyment\".\nWe approach the end of Harley's life,\nand of his library there remain only the prints\nand sketches to look over. Of himself Harley\nhad a number of likenesses:\n186. A fine painting of Mr. J. P. HARLEY\nby GEORGE CLINT, in handsome orna-\nmented gilt frame\n187. A pair of ditto character Portraits, of\nMr. Harley as Caleb Quotum and\nCharles Young in The Stranger, gilt\nframes\n199. An oil painting, Portrait of Mr. J. P.\nHARLEY, by G. CLINT, gilt moulded\nframe\n207. Two water colour character drawings of\nJ. P. HARLEY as Marcelli, in the Devil's\nBridge, and Lesardo [Lissardo] by\nDE WILDE\n210. A coloured miniature Portrait of J. P.\nHarley and 4 small character prints of\nditto, framed and glazed\n214. Three water colour Portraits of Mr. Har-\nley as Jack Phantom, in frame, glazed\n158. Eighteen impressions of the Portrait of\nMr. J. P. Harley in The Strange Gen-\ntleman\nAnd there are others. But from his\n. walls, well covered with pictures, looked\ndown other faces than his own:\n163. A fine proof print of The Kemble Fa-\nmily in Henry VIII.. after Barlowe\n166. A ditto of Bannister and Parsons in\nthe Village Lawyer, and a pair of ditto,\nGarrick as Richard 111. and Abel\nDrugger\n168. Two Character prints, Scenes from the\nBeggar's Opera and Children in the\nWood\n169. A ditto print of H Grace the Duke\nof Devonshire and a coloured print of\nthe Duchess of Devonshire (The house\nof Devonshire, from Shakespeare's time,\nhas interested itself in the theatre; the\npresent Duke possesses many scene de- '\nsigns, including work by Inigo Jones).\n173. Two ditto of Miss Duncan and Miss\nMellon, and a ditto of Charles Dickens\n176. Three Theatrical prints of Liston, Charles\nYoung and Macready, and a coloured\nditto of C. B. Cotton\n177. Three prints, Portraits of Quick. Elli-\nston and E. Forrest, and 2 ditto of St.\nJames* and St. Giles' Beauties\n180. A very fine plaster bust of Mr. J. P.\nHarley, by Sconler, 27 inches high, on\nhandsome scagliola verd antique pedestal,\n34 inches high\n181. A ditto bust of Mrs. Charles Kean, by\nDexter, 28 inches high\n183. A water colour Character drawing of\nListon as Gabey Grim, by DE VLTA\n184. A ditto drawing of Munden as\ncus, by DE WILDE\n185. A ditto of Gatlie as Mons. Moibleu,\nby DE WILDE\n188. A pair of Prints, Portraits of Miss\nO'Neil and Edmund Kean\n189. Two prints of IV. H. Betty and a\nditto of H. P. Bishop\n190. A pair of prints, Charles Kemble and\nthe late Charles Mathews, a ditto of -\nJohn Bannister and a ditto of J. Munden\n193. A print of the Prince of Wales, as\nColonel of Hussars, and a ditto of the\nDuke of Sussex\n195. Four circular prints, The Sailors De-\nparture and Return, &c.\n209. A fine water colour Portrait of Quin as\nFalstajf, 1743\nA ditto drawing of the late Charles\nMathews in the Woodman, by DE WLLDE\n215. A pair of lithograph prints, Views; 2\noval ditto and Portrait of Adrienne Le-\ncouvreur, framed and glazed\n216. Testimonial, with autograph signatures of\nthe performers at the St. James Theatre, ;\n1837 and 8, gilt frame, glazed and a\ncircular medallion of the Seal of Drury\nLane Fund\n218. An exquisite pen and ink drawing of\nNapoleons Tomb at St. Helena, taken\non the spot, 21 April 1828, by Captain -\nII Fabey, 67th Regiment, showing the\ncelebrated Weeping Willow, purchased"}, {"page_pdf": 27, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4027, "texte": "at Barry O'Meara's sale, framed and\nglazed on both sides.\nThere were, in lots No. 221-230 pack-\nages of autograph letters from \" celebrated\nTheatrical Characters \", \" Musical Compo-\nsers, Authors, Professional Notables and\nForeign Artists \".\nIn the front drawing room were to be found:\n333. A pair of fine old Chelsea China figures\nof Shakespeare and Milton, 11 inches high\nIn the back drawing room:\n380. A fine full length bronze of NAPOLEON\nBONAPARTE as First Consul, on pedestal,\nornamented with ormolu, 28 inches high.\nAnd in the dining room this toy:\n400. A group of 14 curious terra cotta Chi-\nnese figures, on rosewood inlaid pedestal,\nwith musical movement, and glass shade.\nHarley had a collection of snuff boxes\nand canes, most of them probably presented\nto him on special occasions. But of his me-\nmentoes I list only these:\n513. A gold enamelled locket, with lock of\nMrs. Sarah Siddons hair, with autograph\npresentation letter (It brought a guinea).\n521. A silver gridiron of the Drury Beef-\nsteak Club and a silver curb guard\nchain (This brought £ 1 -3- -)\n522. A lock of Charles James Fox's hair and\n4 mementoes from Mrs. Jordon's, Talma's\nand other tombs. (This went for 7 shil-\nlings—a proper protest against chipping\ncorners from monuments).\n524. A Very beautiful miniature on ivory of\nMiss [Ellen] Tree, (i) in case, mounted\nin ormolu (Had Harley ever been in\nlove with this lady? Had her answer\nto him enforced his bachelorhood?\nHere an auction catalogue reveals nothing.)\n525. A gold ring, presented by Edmund\nKean, and a gold intaglio ring (The\nminiature and this lot brought £ 2 each).\n529. A masonic . jewel, belonging to /. IV.\nEdwin, the comedian, a lock of King\nCharles I.'s hair, also of Lord Byron &\nLord Nelson, with authentic testimony\n(£ 2-12--)\n530. Several Autographs of George 111., Wil-\nliam IV., Victoria Regina, Napoleon /.,\nMarie Antoinette and other illustrious\npersonages (Had these British monarchs\nall written to Mr. Harley? Presumably\nthe French had not. Someone must have\ngiven the autographs to him; I cannot\nimagine that he spent his money this way.)\n531. A part of the Shakespeare Mulberry-\ntree at Stratford-on-Avon, formerly be-\nlonging to Garrick, with his seal, a ditto\nbust of Shakespeare, carved from the\nMulberry-tree, and piece of Old Drury\nStage, on which Gar rick often trod\n(£ 1-4--)\n219. Mode/ of the Temple to the Dramatic\nMuses, erected at Stratford-upon-Avon,\nin which was celebrated the jubilee\ngiven by David Garrick in honour of\nShakespeare, 1769 (The items in these\ntwo lots, with the jubilee medal mounted\nas a snuff box, came in direct succession\nfrom Garrick through John Bannister to\nHarley).\nLots 555-615, Harley's stage costumes,\nare fascinating—but I cannot possibly include\nthem in his library, And now little remains\nto be told. On 20 August 1858, upon\ngoing into the wings after playing Launcelot\nGobbo at the Princess Theatre, Harley was\nseized with a stroke of paralysis. He was\ncarried home to Upper Gower Street. His\nelderly sister tended him. Recovering some-\nwhat, he quoted Shakespeare, \" I have an\nexposition of sleep come upon me\". He\nsaid it with his accustomed jocularity, inten-\nding to wake up for tea. But his friends,\nears open for a last utterance, exchanged\nglances over the bed. They had heard what\nthey were listening for. Harley died 22\nAugust. Six days later he was buried at\nKensal Green.\nAs for the fortune that years of diligence\nshould have gained ?\nWell, books and prints aren't cheap.\nDinners for one's friends cost something.\nAnd these:\n553. Eight bottles of Claret, 3 ditto of johan-\nnisberg Hock and 2 ditto of Mountain\n554. Twenty-eight bottles of Elder wine and\n6 ditto of Grape wine\n449. A quantity of empty wine bottles & ditto\nMoreover, a man who offers to go secu-\nrity for £ 2000 in the interests of the\ndrama will do as much for his associates,\nand actors form a needy profession. These\nmatters are not recorded. There should be\nno mystery that comedian Harley died leaving\nonly his library.\n(i) Mrs Charles Kean."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c020", "article_bluemountain": "bmtnaau_1928-10_01#c020", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "168", "image_debut": 28, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.11", "titre_corps": "SOME EXTRACTS FROM THE PRACTICE OF MAKING SCENES AND MACHINES IN THEATRES (BOOK TWO)", "titre_sommaire": "SOME EXTRACTS FROM THE PRACTICE OF MAKING SCENES AND MACHINES IN THEATRES (BOOK TWO)", "signature_source": "NICOLA SABBATTINI DA PESARO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 3559, "texte": "SOME EXTRACTS FROM\nTHE PRACTICE OF MAKING\nSCENES AND MACHINES\nIN THEATRES\n(BOOK TWO).\nNICOLA\nSABBATTINI DA PESARO.\n\nCHAPTER 41, HOW THE RAINBOW\nOR CELESTIAL ARCH MAY BE\nMADE TO APPEAR.\n(I)\nWHEN it is necessary, during the Inter-\nmezzi, to make a Rainbow appear,\none can first make use of the same method\nas is described in the preceding chapter <2^; that\nis, adopting one of those sections, in the po-\nsition where it will be most apposite, one\ncan set a strip of linen (3) coloured like a\nRainbow, causing it to move in the same way\nas the clouds, and to disappear in the same\nway; and by this means one will have ac-\ncomplished what is requisite. No further de-\nmonstration is here required, since the in-\nstructions already given respecting the clouds\nwill suffice.\nCHAPTER 42, HOW TO CLOUD\nOVER PART OF THESKY BEGINNING\nWITH A SMALL CLOUD, WHICH\nEVER INCREASES IN SIZE, CONTINUALLY\nCHANGING IN COLOUR.\nTHIS last method of clouding over a part\nof the sky, even if it appear to be dif-\nficult, yet seems to me to be the most beau-\ntiful, and the most marvellous of all those\ndescribed above : but one cannot do this save\nin one clearly defined part, and that is in the\nmiddle, in correspondence with the concavity\nof the sky.\nTo accomplish this one will have to make\neight or ten cylinders of wooden staves, which\nare at least a foot in diameter and which\nmust be exactly equal in length to the ope-\nning of that part of the sky which one wishes\nto cloud over.\nOne will then set at either end of each\na wheel two inches thick, and of the same\ndiameter. The wheel must be indented.\nThe Cylinders are to be covered with\ncanvas, and must be arranged on the ground,\none touching the other, just as they are to be\nin the sky, so that the painting can be rightly\nadjusted.\nFor this work the Painter ought to have\nhad some experience dello studiato (1) as the\nsaying is, since he must net only colour them\non the one side so that they blend with the\npart of the sky already executed, but repre-\nsent the clouds on the other side.\nThus, in the first cylinder, which, ought\nto be set towards the back part of the stage,\nshould be the beginning of a little Cloud.\nThen, in the others, other clouds, which ever\nincrease in size, and continually change colour\nas in Nature.\nThe Painter's part being accomplished,\nthe cylinders must be adjusted in the space\nof the Sky, as has been said, in such away\nthat they can turn easily on their pivots, which\nare to be fixed upon two pieces of wood set\nabove the convex of the sky, one on each side.\nThen lengthwise, above the indented\nwheels, one must set, on the other side, a\ngrooved wood, which must be very smooth,\nand also very firm': this must be a little wi-\nder than the thickness of the wheels, and\nhollowed out to a depth of at least four in-\nches, in each of which grooves one will set\na strip of wood with indentures corresponding\nto those of the wheels adjusted above them,\nso that, in proportion as these strips of wood\nrun along, so will the wheels girate.\nThese strips of wood ought, moreover, to\nbe longer than the grooves, and a little thic-\nker than the cylinders, and so adjusted that,-\nby means of this length, one can cloud over\nthat part of the Sky, and also cause the\nClouds to vanish and the Sky to be once\nagain as before.\nLet the indented wheels A. B, and C. D.\nbe set at the ends of the cylinders, and let\nE. F. be the piece of wood in which the\n\n(1) Published at Ravenna in 1638.\n(2) See The Mask, April 1926, Vol. XII.\n(3) Tela may be taken as either linen or canvas.\n(i) Some practical experience!"}, {"page_pdf": 29, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4506, "texte": "pivot G of the wheel A. B. and the pivot\nH of the wheel C. D. are fixed ; and let\nI. K. L. M. be the groove which takes in\nfour inches of the wheels together with the\nindented length of wood N. O. which is\nfixed in such wise inside the groove that its\nteeth lock with the teeth of the wheels ; and\nlet the men stationed above the Sky be at\nthe point P. on the side of the spectators, and\nat the point Q on the opposite side.\nAt the time appointed the man who was\nset at point P will slowly draw towards him\nthe indented length of wood, so that at the\nsame time the wheels will rotate, and conse-\nquently the cylinders also, as has been said;\nthus when the end of the wood N reaches\nR, the other end O will be at N, and the\nsides of the cylinders A. D. will be in B. C.\nwhich are painted with clouds.\nOne will act in the same way when\nwishing to reverse this action; but, when one\nwishes that the clouds should run along and\ndisappear, as in most cases naturally happens,\none will arrange that the person set at point\nP. does not stop drawing the indented wood\nat R as was said above, but continues as far\nas S., so that the sides of the cylinders B,\nC. will return to A. D. as they were at first,\nand the clouds will disappear, the Sky retur-\nning to its pristine state.\nThe same is to be understood to apply\nto the other ends of the cylinders, two only\nhaving beendrawn so as to avoid confusion ;\nbut one will apply the same rule to as many\nothers as shall be required.\nCHAPTER 43, HOW A CLOUD MAY\nBE MADE TO DESCEND STRAIGHT\nUPON THE STAGE WITH PERSONS\nINSIDE IT(1).\nSHOULD it be necessary to cause a Cloud\nto descend straight down upon the stage\nwith persons inside it, one will follow this rule :\nA grooved upright must be made, composed\nof two beams, equal in length to the distance\nfrom above the sky to beneath the stage; and\nlet these be of a good thickness, that is to say,\nnine inches, or at least four; in these make\na swallow-tail mortise, which must be very\nsmooth, and half a foot deep and the same\nwide ; then one will adjust this in a suitable\nplace behind a partition, strengthened by tie-\nrods fastened to the wall, and being perpen-\ndicular to the Horizon line.\nAfterwards one will adjust in this another\nbeam of the same thickness, or rather less,\nso that it can run with ease in its groove ; this\nbeam must be six or seven feet in length.\nHaving done this, one will fix, at the end\nof the said beam, by means of good linch-\npins, another piece of wood of the same\nthickness, the length of which must be equal\nto the distance at which one shall wish the\nCloud to rise above the stage, nailing, more-\nover, on the side where the Cloud is to be\nset,... that is at a distance of two and a half\nfeet,... another piece of wood, which is to be\nof such length as to reach from the end of\nthe said foot and a half to the bottom of the\nbeam which was set in the groove, fixing it\nwell in that part also with linch-pins, as was\nsaid in regard to the former; and these lengths\nof wood will form a right-angle triangle.\nThen, at either end of the beam which\nwas set in the groove, fix an iron ring, and\nlet these be of a good thickness, so that they\ncan support the weight not only of the cloud\nbut also of the persons who must be set upon\nit, both in lowering the said cloud and in\nwithdrawing it once more to its place. And\nin each of the aforesaid rings a piece of very\nstrong rope must be tied ; that above is to\nbe passed through a strongly fixed pulley-\nwheel, placed above the Sky and perpendi-\ncular to the said grooved beam. Passing the\nend over this pulley and drawing it down-\nwards, one will wind it round a ')\nwhich must be set underneath the stage at\nthe end of the grooved beam ; and the one\nend of the other rope will be tied to the\nlower ring, so that its other end will be\nwound round the windlass in the opposite\ndirection from the first, so that when the\none is winding on the other in the same\nproportion will be winding off.\nThe Cloud must then be made, of the\nright size, and properly strengthened with\ncross-bars of wood and with hoops, so that\npersons may take their places in it safely and\nconveniently; it must be covered with linen,\npainted as naturally as possible, and strongly\nnailed to the end of the arm of wood which\nwas set in position for that purpose.\n\n(i) A note from Giorgio Vasari's 4 Lives of the Painters \"\ndescriptive of a JSuvole or Cloud, is given on page 168.\n(i) mandrel: (in lathe) axis to which work is fixed while\nturned. Concise Oxford Dictionary."}, {"page_pdf": 30, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 3492, "texte": "Having accomplished all this, a slit must\nbe cut in the Sky at the point where the\naforesaid grooved beam meets it, so that the\nwood which supports the cloud may pass\nthrough conveniently; and it must be made\nlengthwise to the level of the stage, so that\nthe cut may not be seen.\nAt the foot of the length of wood already\ndescribed one must fasten a piece of canvas,\nwhich must be equal in length and breadth\nto the cut, and must be coloured like the\nSky : another piece must likewise be arran-\nged from the upper part, one edge of it being\nfastened in the Sky and the other to the other\nend of the aforesaid length of wood. When\nthe cloud is lowered this piece of upper can-\nvas will also be lowered, hiding the cut ;\nand the other lower part will descend, the\ncut being always closed ; the contrary taking\nplace in the ascension, so that in this way\nno opening will be seen, taking heed, howe-\nver, that the Cloud is to be hidden in one\nof the sections.\nIn causing this cloud to rise one will set two\nor four men at the windlass, who must lower or\nraise the cloud, according as shall be required.\nLet the grooved upright support be com-\nposed of the two beams A. B. and C. D.\nand the length of wood set inside it be E. F. ;\nand let G. E. be that which must support\nthe cloud, and H. I. the other piece of wood\nwhich must serve for securing the weight.\nLet these pieces of wood be pegged (I) to-\ngether, in H. E. and F. in such away that\nthey may form a right angle within the groo-\nved upright in E. And let the cloud be set\nat the extremity G. in I.\nSet the first iron ring at the extremity of\nthe piece of wood E. F. in E., in which tie\none end of a rope which passes through the\npulley K. in such away that it comes to\nterminate in the windlass L. M. in N, with\nso many turns and at such a distance that it\ncan lower the cloud from above the Sky\ndown to the level of the stage.\nAfter this, in the other extremity of the\npiece of wood, F, one must set the other ring,\nand tie to it one end of another rope, which\nmust terminate in the said windlass in O ; and\nlet the men be set at the handlebars P. Q.\nWhen you wish the cloud to descend they\nwill turn the windlass so that the end of the -\nrope F. O. may be wound on to the wind-\nlass, and the other E. K. N. may be un-\nwound in the same proportion; and thus,\nwhen F. shall be in B. the cloud will be\nupon the level of the stage R. S. in T.\nIn making it then return to its place the ,\nwindlass must be turned in the opposite di-\nrection, and thus all that has to be done will\nbe accomplished.\nCHAPTER 44, ANOTHER METHOD\nBY WHICH ONE MAY MAKE A\nCLOUD DESCEND TO THE STAGE\nWITH PERSONS WITHIN IT.\nSHOULD one wish to make a cloud, with\npersons inside it, descend in another man-\nner on to the stage, it can be done in the-\nfollowing way.\nTwo gargami(grooved beams) will be\nmade as has been already shown in the pre-\nvious chapter; but with this difference, how-\never ; that, in those, the channel was cut\nin swallow-tail shape, and these are to be\nwithout this ; that is, the jointure is to be straight,\nbut clean and smooth, according to what was\nalready said ; and, in height, they must reach\nfrom the level of the auditorium above the Sky,\nand one will be set on either side in line\nwith one of the sections of the Sky prepared\nfor that purpose; setting them far enough behind\nthe scenes, so that they cannot be seen by\nthose out in front; and let them be secured by\ntie-rods built into the walls and perpendicu-\nlar to the horizon line."}, {"page_pdf": 30, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.30", "debut_caractere": 3505, "fin_caractere_exclue": 3559, "texte": "(x) Incavigliare, to peg or pin. Baretti's Dictionary."}, {"page_pdf": 31, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 3614, "texte": "A cross piece of wood will then be adjusted,\nas long as the distance between the one gar-\ngame and the other, and with so much over\nthat it may project a foot at either end, and\nmade in such away that the ends of the\nwood may run easily in the said gargami.\nIn line, then, with the ends of the said\ncross-beam, which run in the mortises, there\nmust be set on either side another piece of\nwood of the same thickness and two feet\nin length, which is to be fixed into the lower\nside so that the main cross-bar may not turn,\nas might easily happen owing to the weight\nof the persons, who are not always in per-\npendicular position.\nHaving adjusted the aforesaid matters one\nwill set above the Sky, in a straight line\nwith the upright beams, a pulley wheel on\n• either side; through which a good strong\nrope must be passed, of which one end is\nto be tied round the main cross-beam on\nthe inner side, near the upright beams, and\nthe other, passing through the said pulley\nwheels, is to come down and be wound\nround the ends of a cylinder which must\nbe one foot and a half in diameter, and\nrather longer than the distance from one\nupright beam to the other, which must be\nset beneath the stage, and adjusted in such\naway that the ropes which pass over the\npulleys are perpendicular to the said cylin-\nder, adjusted with its pivots so that it can\nbe turned with facility.\nThen, facing the centre of this, one will\nset a capstan with sufficient space on either\nside so that the handles can turn. This\n.capstan must cause the said cylinder to turn\nby means of a good thick cable, half of which\nis to be wound round the cylinder with as\nmany turns as shall suffice to wind out the\nropes, which will be tied to the cross-bar\nbetween the two upright beams, the other\nend passing round the capstan.\nThe cloud must then be constructed be-\ntween two pieces of wood, and must be long\nin shape, so that the two ends of the wood\nmay not be seen. At the time when the\ncloud has to be lowered by four, or more,\nmen, as may be required, the capstan must\nbe turned, so that, in proportion as the cable is\nunwound from the cylinder, so will the cords\nbe let out which were wound round the enas\nof the said cylinder, and consequently the\ncloud will descend with the personages upon it.\nBut, in the event of there being many\npersons, more men can be set at th capstan,\none always being set in line with it to guide\nthe cable so that it may not get over-laid\nand the capstan may not unwind.\nIn making the cloud reascend one will\ntnrn the cylinder in the opposite direction,\nbut, to do this, there must be as much rope\non the windlass as on the cylinder, so that,\nas the one winds off, the other shall wind on.\nLet A. B. and C. D. be the two groo-\nved beams set perpendicularly to the horizon,\nand let them be secured so that they may\nnot move. Let F. G. be the cross-beam\nupon which is constructed the cloud E. and\nlet it project one foot beyond the upright\ngrooved beam on either side, as is A. F. on\none side and C. G. on the other. Then, at\nthose parts of the said cross beam which\npass through the upright grooved beams A\nand C. let there be set pieces of wood of\nthe same thickness and two feet long, as is\nseen in A. H. and C. I. Then let the pul-\nleys K. L. be set above the sky in a straight\nline with the cross beam F. G. at M. N.,\nat which points let one end of each of the\nropes M. N« be tied, which ropes then,\npassing through the said pulleys K. L., come\ndown and are wound beneath the stage round\nthe cylinder O. P. in Q. and R. And in the\nmiddle of the cylinder, in S., one end of the\ncable will be wound with as many turns as"}, {"page_pdf": 32, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4400, "texte": "will suffice to let the cloud descend to the\nstage, and the rest of this cable must pass\non to the capstan T., a person being set at\nV to guide this cable so that it may unwind\nthe capstan, but also so that it may not get\nentangled with the other part of the cable which,\npassing round the capstan, winds around the\ncylinder, while the first end unwinds, the men\nbeing set at the handles X. Y. and Z. etc.\nWhen it is desired that the cloud should\ndescend the men will turn the capstan many\ntimes until the part of the cable whish was\nfirst wound round in it, unwinding from the\ncylinder, causes, proportionately, the parts of\nthe ropes Q. R., which sustain the cross-bar\nof the cloud, to unwind also, until this has\nbeen lowered to the destined spot.\nIn making it subsequently reascend to its\nplace the capstan must be turned in the op-\nposite direction the same numbe* of times,\nso that by this means that which was to be\ndone will be accomplished.\nCHAPTER 45, HOW ONE CAN\nLOWER A CLOUD WHICH, FROM\nTHE EXTREME BACK OF THE SKY\nADVANCES TO THE MIDDLE OF\nTHE STAGE WITH PERSONS\nUPONIT.\nWHEN it is necessary to make a cloud\ndescend, which, commencing from\nthe extreme back of the sky, comes for-\nward to the middle of the stage with persons\nupon it, one will act in the following man-\nner ; always assuming, however, that behind\nthe scenes, in line with the back of the sky,\nthere is a convenient space, and of about\ntwenty feet at least.\nTake a good beam, twenty-five feet in\nlength, which must serve as a lever, and at\nthe centre must be set a support or rest well\nsecured with barbicans or props and an iron\nstaple. The support must be made with a\npiece of beam thicker than the lever and is\nto be set perpendicular to the horizon, fas-\ntened into the floor of the auditorium in line\nwith the back part of the sky and rising four\nfeet in height above the level of the stage, but\nso far back that it may not be seen by those\nout in front. The lever must then be fixed\nabove it, adjusting it in such away that it\nmoves without difficulty.\nAfterwards, at a distance of ten feet from\nthe support and at a height of twenty feet,\none will set a pulley, if possible of metal, so\nthat it may be secure, and able to support\nthe weight. This should be set plumb above\nanother of the same size and strength which\nmust be set below, three feet above the le-\nvel of the sala, which must serve as guide\nfor the cable of the capstan, which will be „\nset in line with the said pulley, as far to one\nside as shall be must convenient for the cap-\nstan, so that those who turn the handles can\ndo so without impediment.\nThen take a good thick cable, and let it\nbe very secure, so that it may not, by giving\nway under use, occasion any accident.\nOne end of the cable will be firmly tied\nto the extremity of the lever, on the side\ntowards the back of the sky; and, passing\nthe other end through the pulley, which was\nset above the sky, let it, in coming down-\nwards, pass through the other set below, for\ntaking the turn towards the capstan.\nThen at the other end of the lever, that\nis, on the side towards the spectators, a cloud\nmust be constructed, which will be set upon\ntwo pieces of wood of suitable thickness,\nwith perches, on which the persons who\nare to be placed upon it may be secure.\nWhen the cloud is completed, the end\nof it is to be set above the end of the lever,\nbalanced between the two pieces of wood in .\nsuch wise that, in no matter what way, either\nhigh or low, the lever be moved, the cloud\nalways remains perpendicular to the horizon,\nso that, while it should be lowered forwards,\nthe persons who are upon it should not fall dow-\nnwards, and also so that the lever be not seen. -\nAs has been already said, this cloud,\nmade in this manner, will not be able, in\nbeing lowered, to emerge from the sections\nof the sky, but will come straight forwards,\naccording as it shall have been installed.\nIn the sky an opening must be made, si-\nmilar to the cloud but a good deal larger, so\nthat, descending with ease and without impedi-\nment, it can issue from the sky, and, retur-\nning upwards, can reenter.\nThis aperture must always be closed again\nwith a piece of sky constructed upon a little\nframework of thin pieces of wood, which\nmust be as uniform with the sky as possible,\nboth in colour and in conjuncture; and so\nthat, when the cloud shall have emerged\nfrom the aperture, and the flap is raised, no-"}, {"page_pdf": 33, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4083, "texte": "thing irrelevant may appear, the inner part\nwill also be painted like the outer. Then,\non - the other side of the lever, a weight is to\n*be set, which must outweight the cloud and\nthe persons upon it so that this end of the\nlever may keep down of itself, notwithstand-\ning the weight of the persons or cloud.\nWhen this operation is to be performed\nthere must be set at the handles four or eight\nmen, by whom the capstan will be slowly\nturned, so that, in like degree, the cloud will\nbe lowered until it rests upon the level of\nthe stage. Then, in making it again return\nupwards, they will work the capstan the op-\nposite way, until the cloud has returned to\nits original place, taking care that there be\nalways a man behind the capstan, as was\nsaid in regard to the other operation, and\nbearing in mind that the men who have to\nturn the capstan to make the cloud rise must\nbe very attentive, because the cloud would\nrise of itself on account of the greater op-\nposite weight.\nLet the support be A. B. secured with\n, the props or stancions A. C. and A. D. (and\nmore should they be required), and let E. F.\nbe the lever with its centre poised in A.\nsecured with an iron brace, in such a man-\nner that it can be easily lowered or raised ;\nand let G. be the pulley set above and H.\nthe other one below, and let 1. be the cap-\nstan : let the cable be tied to the extremity of\nthe lever F., and let this pass over the pul-\nley G. and come down to the other pulley\nH. turning then towards the capstan 1.; and\nlet the other end be held by a person set at\nK. and let the framework which closes the\naperture of the sky from which the cloud S.\nis to emerge be L.\nWhen the cloud is to be lowered, those\nmen who were set above the sky for the\npurpose must first make the framework L run\nalong to M. so that in that instant the place\nwill open whence the cloud is to emerge ;\nthen at the same time the men below will\nslowly turn the handles N. O. P. Q. of the\ncapstan I until the extremity of the lever F\nhas risen to R. with the result that the cloud\nE. will be lowered in S. upon the level of\nthe stage T. V.\nIn causing it to return subsequently to its\nplace the capstan will be turned in the op-\nposite direction until R. has returned to F\nand the cloud S. will be again in its proper\nplace E. : then the framework M. must be\nimmediately run along to L. in this manner\neverything will have returned to its right place.\nBut should there not be a capacious space\nbehind the scenes as said above, there must\nbe built into the centre of the back wall, at\na height of four feet from the stage, an iron\nbracket very strongly secured, in which must\nbe fixed one end of a good beam equal in\nlength to the distance from there forwards to\nthe point at which the cloud must descend.,\nand it must be of sufficient thickness to sup-\nport the weights both of the cloud and of\nthe persons who must be placed there upon ;\nand it must be set in such a manner that the\nsaid beam can be easily moved up and down\nas much as shall be required..\nBesides this, in the aforesaid wail and in\nline with the bracket, at a height little more\nthan half of the said beam, one will set a\ndevice or pulley with two pulley wheels which\nmust be well built in and secured to the wall.\nAfterwards another similar runnel is to\nbe set with two pulley wheels.\nHaving done this, there must be placed\nbeneath the stage, at a height of two feet\nfrom the floor of the auditorium, one single\npulley wheel which must be set in a plumb\nline with the one above which was built into\nthe wali, having to serve as guide for the\ncapstan, which must be set beneath the stage\non the side towards the spectators, to the one\nhand or the other as shall be most convenient.\nThe cloud will be constructed at the end\nof the length of wood as was said in descri-\nbing the previous method.\nThen take a strong cable, and, tying one\nend of it in an iron ring which must be set\nat the base of the upper runnel, pass it over\nthe first pulley wheel which was set in the\nwood, and, doubling back through the first, set\nabove, bring it down, into the second, be-"}, {"page_pdf": 34, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4574, "texte": "low in the wood, and, passing again through\nthe second into the one above, bring it down\nagain, and make it pass through the pulley\nwheel set as a guide to the capstan, pulling\nit taut and winding it round the capstan.\nIn operating it the aforesaid rule is to be\nadhered to, as was stated above respecting\nthe first method ; bearing in mind that, should\nmany people take their places on the cloud,\nso that the said force should not suffice to\nmake the cloud reascend after having been\nlowered, more men must be set at the capstan,\nor else the pulley wheels must be multiplied\nboth below and above ; but there will be a\nlittle difficully in lowering it, owing to the\naltered proportion of the power to the weight,\nas is demonstrated in the Mechanics of the most\nillustrious Signor Guido Übaldo dal Monte.\nBut in this event a little help may be\ngiven by a person who, standing behind the\ncloud, pushes the wood forward, so that,\nbeing set somewhat in motion in this way,\nit can then be lowered perfectly well. In\nmaking it reascend the capstan will be tur-\nned the opposite way as has been said above.\nLet the level of the auditorium be A. B.\nand the wail behind the scene C- D. and\nthe iron Stirrup built into it be E. at a height\nof four feet from the level of the stage F. G. ;\nand let the wooden cross bar be H. E. and\nthe cloud H. and the runnel I with two pulley\nwheels built into the wall C. D. in I and\nthe other runnel in the wood with other two\npulley wheels in K. Then let the other single\npulley wheel L be be secured in the wall\nC. D. under the stage at a height of two feet\nfrom the level of the auditorium; and let the cap-\nstan be M with the person N who is to serve\nto control the cable. Then let one end of the\ncable be tied to the base of the runnel {\nand pass through the first pulley wheel set in\nthe runnel of the wood K., which, returning\ninto the first pulley wheel in I, passes back into *\nthe second in K. and, passing again into the\nsecond in 1., comes down into the pulley\nwheel L. which was set as guide to the\ncapstan, as was said, winding round the same\ncapstan M. wiih as many turns as shall be\nnecessary. And let the cloud be construc-\nted in H. In making it descend the same rule\nis to be observed as was given above in res-\npect to the other method, and so also in\ncausing it to reascend, because, as the run-\nnel which was set in the wood K will be\nin O, the length of wood E. H. will be in\nE. P. and the cloud H will be upon the\nlevel of the stage F. G. in P. Likewise\nwhen O. shall have risen to K., P. also will\nhave risen to H. as was intended.\nNOTE ON \"NUVOLE\"\nGiorgio Vasari gives an explanation of the term\n\" Nuvole \" or Clouds in his life of 11 Cecca, which\nthrows much light on the subject :\nA square frame was made of planks about two hraccia\nhigh, with fyur strong legs at the angles, which were\nbound fast together beneath after the manner of trestles;\nacross this frame were laid two planks, each one braccia\nwide, and having an opening in the centre, half a braccia\nin diameter, from which arose an upright pole supporting\na Mandorla, entirely covered with cotton wool, amidst\nwhich were angels, lights and other ornaments. In this\nthere was an iron fixed across, whereon was placed, seated\nor standing, as was desired, a person who represented that\nsaint whom the Brotherhood in question principally ho-\nnoured as their advocate and protector ; whether it were\nthe Saviour, the Madonna, St. John, or any other Saint, .\nthe vestments of the figure concealing the iron in such\nsort that it was not seen.\nTo the pole which supported the Mandorla were\nfastened four or more iron bars, serving in the manner of\nbranches to a tree ; they were fixed around and beneath\nthe Mandorla, and to these irons were secured little chil-\ndren clothed to represent angels, who were free to move\nat heir pleasure on the bracket supporting their feet,\nwhich was formed with hinges in a manner suited to that end.\nBy means of such branches three or four circles of\nangels or of saints according to the subject represented,\nwere at times exhibited.\nThe whole of this structure, which sometimes repre-\nsented a Lily, sometimes a Tree, but most frequently a\nCloud or something similar, was concealed by the cotton wool,\nand was occupied, as se have before seen, by cherubim,\nseraphim, etc., .or covered with gold stars and other ornaments.\nThe stairs for ascending these structures and every\nother part being covered, as we have said above, with\ncotton-wool, a very fine effect was produced, and all\niheae contrivances were called \" Nuvole (Clouds)."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c021", "article_bluemountain": "bmtnaau_1928-10_01#c021", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.11.1", "titre_corps": "Figure 1", "titre_sommaire": "Figure 1", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.28", "debut_caractere": 3561, "fin_caractere_exclue": 3570, "texte": "Figure 1."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c022", "article_bluemountain": "bmtnaau_1928-10_01#c022", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "164", "image_debut": 30, "image_fin": 30, "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=bmtnaau192810-01.2.11.2", "titre_corps": "Figure 2", "titre_sommaire": "Figure 2", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.30", "debut_caractere": 3494, "fin_caractere_exclue": 3503, "texte": "Figure 2."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c023", "article_bluemountain": "bmtnaau_1928-10_01#c023", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "165", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.11.3", "titre_corps": "Figure 3", "titre_sommaire": "Figure 3", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.31", "debut_caractere": 3616, "fin_caractere_exclue": 3625, "texte": "Figure 3."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c024", "article_bluemountain": "bmtnaau_1928-10_01#c024", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.11.4", "titre_corps": "Figure 4", "titre_sommaire": "Figure 4", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.33", "debut_caractere": 4085, "fin_caractere_exclue": 4094, "texte": "Figure 4."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c025", "article_bluemountain": "bmtnaau_1928-10_01#c025", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "image_debut": 34, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.11.5", "titre_corps": "Figure 5", "titre_sommaire": "Figure 5", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.34", "debut_caractere": 4576, "fin_caractere_exclue": 4585, "texte": "Figure 5."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c026", "article_bluemountain": "bmtnaau_1928-10_01#c026", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "170", "image_debut": 35, "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=bmtnaau192810-01.2.12", "titre_corps": "PARIS, 1928 : A SHOW AND THREE MAGAZINES", "titre_sommaire": "PARIS, 1928 : A SHOW AND THREE MAGAZINES", "signature_source": "p. b", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 3929, "texte": "PARIS, 1928.\nA SHOW AND THREE\nMAGAZINES.\n\nRETURNING from France I find in my lug-\ngage three magazines not \" for favour\nof review \" but bought by me last month.\nThey are \" L' Amour de I'Art \" (iOfrs.);\nLe Masque \" (fr. 1.50) and the souvenir of\nthe \" Folies Bergeres: 1928: La Grande Folie.\"\nSixieme album. (10 frs.).\nFOLIES BERGERES.\nA T the first glance one would say some\nwould say that this \"Amour de l'Art \"\nwas stuff for the high brows. The Folies\nBergeres Album one would throw away and\ncall Tosh. \" Le Masque as its so named\nand is the first number, one would caress,\nhoping to find it what Le Masque in any\nlanguage should be. It is unfortunately nothing,\nand there an end : and my concern is with\nthe \" L'Amour de l'Art \" and Folies Bergeres:\nNow for a shock.\nIf you'd believe it, it is the stage of the\nFolies Bergeres which is packed with high\nbrow stuff: and it is the stalls and the pro-\nmenade which were packed with high-brow\npeople when I was there ten days ago.\nYou'll suppose 1 report incorrectly, but\nthis is a fact.\nI was in the promenade and surrounded\nby men of all nationalities but mostly French-\nmen. One and all took it all dead-seriously,\nfollowing every note of the music, every bit\nof the show, and each gesture of every figure\nas though these things were by Bach, by Bi-\nbiena, and by a group of performers composed\nof Duse, Bernhardt, Ellen Terry and Rachel.\nI have never before seen such intensity,\nsuch wrapt solemnity before a piece of ordi-\nnary bon theatre smeared over with a lot of\n\" artisticness \".\nThe show was slick no one could deny\nthis. It was top-hole, Al : but somehow it\ndid not seem to me to call for such grave and\nearnest faces as the five hundred around me\nwore. Their gravity made me merry.\nAs I looked at them 1 realized that it is\nthese people who are the only high-brows :\nie, folk who stand wrapt and speechless be-\nfore a jolly old vulgarity served up in a pom-\npous solemn manner.\nWhat a lark !\nHighbrow's, yes, they exist right enough;\nbut you've all got it wrong ; you've spotted\nthe wrong people again.\nThe highb row isn't the young poet with\nlongish hair and with brains: the highbrow is\na tough looking chap, a quite ordinary looking\nfellow, a real man in the street. In fact Jones,\nSmith and Robinson are the highbrows.\nThe show at the Folies Bergeres was a\ncompound of all the old stuff, the true et de-\ncors, of the last sixty years with some of the\ndiscarded notions of the New Movement plas-\ntered on them. With this a rather exagge-\nrated display of naked and semi-naked women.\nSmolinska should be spoken to : that red\nrag of hers is repulsive. Colette Jove is sweet\nand lovely and will be spoken to. Jonescu is\na delight: and the modern little Mile. Halina\nDorsowna is delicious to her finger tips.\nKomarova, Skibine and Gretchikine are\nclever.\nMontel as Nicolas is, it goes quite without\nsaying, masterly, his sense of rhythm perfect.\nThe Dodge Twins are a trouble. 1 mean it\nwell. I think they are two of the handsomest\nwomen the stage has seen for years; but they\ntry to do things, and they do them fatuously ill\nwith consummate skill. They twitter like no\nBirds ever did or want to, and they do the\nsplits to slow music and they turn pure Folie\ninto lugubrious highbrow rubbish. Where do\nthey hail from ? Don't tell me from the Land\nof the Free.\nLast, but almost best, come Randall and\nMiss Alice Meva. What a vitality she is\nhe too: but he hadn't the difficult choice to\nmake of \" legs or tights \". She had, and she\nplumped for tights, what a stroke of ge-\nnius, ie. what sound common sense.\nBesides this she dances and sings and\ncarries on with a charm which is as young as\nit is clever, as graceful as it is precise.\nL'AMOUR DE L'ART.\nAS for L'Amour de l'Art, t'is a good\nserious publication which avoids the\nexcessive gravity of the Folie Bergere.\nIn the number which I bought'T- was an\n\n(i) We hope to see some more numbers of this magazine.\nEditor."}, {"page_pdf": 36, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 2289, "texte": "excellent article on the bridges and hangars\nt < O t3\nbuilt by M. Freyssinet, which are not only\nlovely things but serve useful purposes,\nAnother article is on Lisa Duncan, pupil\nof Isadora Duncan. She is a good dancer,\nbut the writer of the article gets off the lines\nand begins to write of her as la sculpture\nVerifide. We must write of a dancer as a\ndancer and not connect her with sculpture, for\nthat way lies nonsense and trouble too... and\nleads at last to Folie and high-browism.\nAn article on Picasso as stage designer\n111* . O,\nshould interest every one in any way puzzled\nby the developments in this branch of stage\nwork. One sees that Picasso has not quite\ncaught the notion that the theatre is the book\nfor those who don't read, — who neither can,\nor have time to read.\nIt's an old label this, but one which mo-\ndern stage designers of sense might ponder a\nlittle more often.\nTo make a costume so fantastic that it\nsays nothing is to miss the mark, and Pi-\ncasso's costume for \" Un Manager de Parade \"\nmisses the mark. His idea of Le cheval\n' de Parade' \" being a comic interpretation\nof the old comic stage horse of the last four\nhundred years, hits the bull's eye. Yet it\nwas this horse which aroused such a storm of\nprotest: really rather idiotic protest, since it\nhad been accepted and even tired us a little,\nthis aged horse, four hundred years old.\nThe notes on the work of Picasso say,\namongst other excellent or daft things, that\n\" the able use of perspective by Picasso gave\nan impression of added depth to the stage\nset, which is something new in theatrical de-\ncoration, \"\nIt Was something new about the year 1550,\n— it was new to the stage but old, even\nthen, to the painters : so what the writer, M.\nRaymond Cogniat, can mean we can but guess\nat; he don't make himself sufficiently clear.\nIn an interesting article on Sculpture and\nRomanticism M. Luc Benoist quotes a pas-\nsage from Proust's \" amazing preface to Rus-\nkin's Sesame and Lilies. \" An interesting\nquotation (is the preface translated into Eng-\nlish, by the way?) and runs thus: \" It is\nthe spectators who are romantic. Masters\n(even so-called romantic masters) are always\nclassic, \" which makes me want to read more\nof M. Proust, — except, after so satisfying a\npiece, what more could one want.\n\np. b."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c027", "article_bluemountain": "bmtnaau_1928-10_01#c027", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "171", "image_debut": 36, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.13", "titre_corps": "TWO DRAMATISTS", "titre_sommaire": "TWO DRAMATISTS", "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": 36, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.36", "debut_caractere": 2291, "fin_caractere_exclue": 3941, "texte": "TWO DRAMATISTS.\n\nA GREAT NAME FORGOTTEN.\nI cannot often feel as I felt but yesterday\ntowards the writer of one of the best short\nplays of the century,—really 1 might say the\nbest without more hesitation.\nThe work was so perfect, it did so great\nan honour to our stage because of this, that,\nreading it, I felt immensely pjoud of all thea-\ntres, of all acting, of all its audiences, of all\ndramatists, and nothing was lacking to my\ndelight.\nThat there was very little to feel proud\nof in our Theatre, least of all its faults, did\nnot occur to me, for I was carried awav.\nThe writer of this play had taken on him\nthe sins of the others ; he had given them\nabsolution. And no longer did you all ap-\npear guilty of anything ;—but oh, how ridi-\nculous you suddenly became, for I realized\nthat here was and is the Dramatist of the\nage, and he still waiting to hear a single\nround of applause, and damme, again you've\nforgotten your cue.\nHere was and is one who knows better\nthan any other the value of the word, the\npause, the turn—the almost silent voice,\nthe clear incisive speech, the halting perfect\nhesitating sounds, the gestures, every one of\nthem; the little tricks and the deeper serious\nunder-tricks, and then the best of all things,\nthe long swelling under-current which goes\non and reaches into all sorts of caverns of\nthought and feeling ....all this and more. His\ntechnical mastery perfect, and spirit all as\nperfect. And this you never noted; this\nyou may have seen and not realized; this\nyou may even have made overtures to—\nthrough a penny whistle from Hammersmith\nor Hampstead or the East Indies.\nAnd I felt towards this writer once again"}, {"page_pdf": 37, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 2460, "texte": "the old respect which almost all other mo-\ndern dramatists had killed in me at every play\nthey issued, such blundering, theatreless men\nthey are, such contempt for the stage is\ntheirs, and his such love of it: and so it is\nthat I felt the deepest respect a man can\nfeel for all writers, but because of this one\nmost honourable work.\nA SMALL NAME OVERLOOKED.\nAND today as I turned the pages of a fa-\nmous journal I came across an announce-\nment of a Theatre and I read that a play\nwould be performed, and that it was \" Lon-\ndon's greatest success \", and I saw not a\nword said as to who was the writer, the au-\nthor of this comedy. I was thunderstruck,—\n- rather offended—and I only a producer of\nplays, not a playwright.\nWhy no word to tell us the name of this\nwriter of this famous play ?\nI turned to ten other numbers of the same\njournal and looked for the advertisement of\n. this play. There it flared, but still no name,\nnot even the initials of its author. So it\nwasn't an accidental omission ; it was a de-\nliberate blunder committed without forethought\nor after-thought.\nI was left in wonderment that this author\n. should not be considered worth naming, this\nauthor of \" London's Greatest Success....\nAN OPPORTUNITY.\nWHAT, after all, does such an omission\nmatter when we have suffered to see the\ngraver slight to the best living English dra-\nmatist ?—one who has done his work better\nthan any others have done theirs, and who\nby my calculation must therefore be given\nthe laurels.\nDo you ask me to name him?\nSurely not.— why should I ? You have\nnot recognized him for yourselves and he is\nat no pains about that; and I for my part\nhave no wish to create an awkward situation.\nBesides, you would not admit I was cor-\nrect ; to spite your face you would cut off\nyour nose and you would pour out all your\nconventional arguments on me, and I should\nonly be drenched by your arguments without\nbeing in the least convinced.\nBut those of you who are good honest\n\\\nfellows at the game will admit that, if this\nwriter's work has been done perfectly, and\nif this play, as you will have to admit, is\nreally a faultless sample, (and it's only a\nsample), ....you will also admit that this is\nreally the stuff you've been wanting, clamou-\nring for, and for lack of which the theatre\nhas gone bare. Then why not go to the ma-\nnufacturer of it, to this dramatist, and ask for\na dozen rolls of the material and once again\nclothe our theatre and dress our stage.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c030", "article_bluemountain": "bmtnaau_1928-10_01#c030", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.14", "titre_corps": "TOWARDS PERFECTION", "titre_sommaire": "TOWARDS PERFECTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.37", "debut_caractere": 2462, "fin_caractere_exclue": 4061, "texte": "TOWARDS PERFECTION.\n\nHOKUSAI SPEAKS ON NEARING EIGHTY.\nHokusai.\nFROM the age of six, I had the passion for drawing\nthe forms of things. By the age of fifty 1 had pub-\nlished an infinity of designs ; but all that I produced be-\nfore the age of seventy is of no account. Only when I\nwas seventy-three had I got seme sort of insight into the\nreal structure of nature—animals, plants, trees, birds, fish,\nand insects. Consequently, at the age of eighty I sha!l\nhave advanced still further; at ninety, I shall grasp the\nmystery of things : at a hundred. 1 shall be a marvel, and\nat a hundred and ten every blot, every line from my\nbrush shall be alive !\n\nAND AT NINETY.\nHokusai\nFROM the age of six I began to draw, and for eighty-\nfour years I have worked independently of the schools,\nmy thoughts all the time being turned towards drawing.\nIt being impossible to express everything in so small a\nspace, I wished only to teach the difference between ver-\nmilion and crimson lake, between indigo and green, and\nalso in a general way to teach how to handle round shapes\nand square, straight lines and curved ; and if one day\nI make a sequel to this volume, I shall show children how\nto render the violence of ocean, the rush of rapids, the\ntranquillity of still pools, and among the living beings cf\nthe earth, their state of weakness or strength. There are\nin nature birds that do not fly high, flowering trees that\nnever fruit: all these conditions of the life we live among\nare worth studying thoroughly ; and if 1 ever succeed in\nconvincing artists of this, I shall have been the first to\nshow the way."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c031", "article_bluemountain": "bmtnaau_1928-10_01#c031", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.14.1", "titre_corps": "HOKUSAI SPEAKS ON NEARING EIGHTY", "titre_sommaire": "HOKUSAI SPEAKS ON NEARING EIGHTY", "signature_source": "Hokusai", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.37", "debut_caractere": 2483, "fin_caractere_exclue": 3110, "texte": "HOKUSAI SPEAKS ON NEARING EIGHTY.\nHokusai.\nFROM the age of six, I had the passion for drawing\nthe forms of things. By the age of fifty 1 had pub-\nlished an infinity of designs ; but all that I produced be-\nfore the age of seventy is of no account. Only when I\nwas seventy-three had I got seme sort of insight into the\nreal structure of nature—animals, plants, trees, birds, fish,\nand insects. Consequently, at the age of eighty I sha!l\nhave advanced still further; at ninety, I shall grasp the\nmystery of things : at a hundred. 1 shall be a marvel, and\nat a hundred and ten every blot, every line from my\nbrush shall be alive !"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c032", "article_bluemountain": "bmtnaau_1928-10_01#c032", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.14.2", "titre_corps": "AND AT NINETY", "titre_sommaire": "AND AT NINETY", "signature_source": "Hokusai", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.37", "debut_caractere": 3112, "fin_caractere_exclue": 4061, "texte": "AND AT NINETY.\nHokusai\nFROM the age of six I began to draw, and for eighty-\nfour years I have worked independently of the schools,\nmy thoughts all the time being turned towards drawing.\nIt being impossible to express everything in so small a\nspace, I wished only to teach the difference between ver-\nmilion and crimson lake, between indigo and green, and\nalso in a general way to teach how to handle round shapes\nand square, straight lines and curved ; and if one day\nI make a sequel to this volume, I shall show children how\nto render the violence of ocean, the rush of rapids, the\ntranquillity of still pools, and among the living beings cf\nthe earth, their state of weakness or strength. There are\nin nature birds that do not fly high, flowering trees that\nnever fruit: all these conditions of the life we live among\nare worth studying thoroughly ; and if 1 ever succeed in\nconvincing artists of this, I shall have been the first to\nshow the way."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c034", "article_bluemountain": "bmtnaau_1928-10_01#c034", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 38, "image_fin": 38, "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=bmtnaau192810-01.2.15", "titre_corps": "WALDTEUFEL", "titre_sommaire": "WALDTEUFEL", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 2961, "texte": "WALDTEUFEL\nD. P.\nSOME things are pretty dreadful on the\nGramaphone, others defy it. And\nteufel is one of them.\nIf for this fact alone I sincerely trust that\nthe latest edition of the 44 Dictionary of Music'\n(not sent for4 favour of review' to 44 The Mask\"\noffice) has improved upon its 1911 reference\nto the great Waldteufel.\nHe was then given but nine lines, and\nhis loveliest thing, the immortal Skaters' waltz(I),\nwent unmentioned.\nAssuredly the Victorian era, when Grove's\nDictionary of Music was planned, Was without\nall sentimentality: no more feeling age but\nwould have devoted at least two pages to\nthis composer of waltzes.\nI would devote a whole book to this waltz\nalone it should be called 44 The Devil of\nthe Forest I would write romance after\nromance, three hundred and sixty-five romances\nfor the three hundred and sixty five days of\nthe year, ...spring romances and autumn ones,\nthose of summer and that of winter. This\nsweet wailing thing should bind the whole\ntogether, and I would give away my novel\nwith every disc sold of the 44 Skaters' Waltz \".\nIt is as good as Strauss: I even love it\nbetter than Strauss's best.\nWaldteufel, born in 1837, is excluded\nfrom the histories of Music which I possess,\nand I find him in none of my four Biogra-\nphical Dictionaries. So, for all I know, he\nmay happily be still living. Emil Waldteufel\nis his full name and he was born December\n9th 1837 in Strasburg, so he would be ninety-\none years old now.\nHis other waltzes I do not know; but for\nthis one waltz alone I would give him all the\norders of the late German Empire.\nI sought for his name and portrait in that\nadmirable Album issued by Flammarion called\n44 Le Second Empire\", 1851-1870, and felt\nsure of finding him there, for he was appoint-\ned pianist to the Empress Eugenie. It does\nnot appear so admirable to me now, for no\nword or view of Waldteufel is to be found\nin it. Yet Bressant is there, and Capoul,\nTamberlick and Halevy, Auber and Victor\nMasse, Ambroise Thomas and Felicien David;\nand if these, why not the great Waldteufel?\nfor Cora Pearl and Anna Delion are there\ntoo. Well then.\nIf instead of being an unknown scribbler\nliving in one of the Courts of Fleet Street I\nwere Mr. Arnold Bennett, my words here\nwould first of all be brighter, my efforts surer,\nand, what is more, 1 should revive an interest\nin my great composer.\n1 feel certain that Bach, Beethoven and\nMozart if living through these days, while\nthey might fidget at Debussy, would assuredly\nnod the head at Waldteufel.\nWith all the faults he has a supreme virtue.\nWhat is it ? The indefinable unless one\nhappens to be a Mr. Bennett.\nHe is touching, big, a sentimentalist, (not\nMr. Bennett, Waldteufel) ; but all the more\ntouching for that; and all I know is this; as\nthe strains flow out one says 44 Yes, lovely\n...lovely\nWhat's wrong with Waldteufel then for\n1928? The precise must tell us, and I for\none won't listen to them.\n(i) Number in Gramaphone Catalogue S. 8844."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c036", "article_bluemountain": "bmtnaau_1928-10_01#c036", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 38, "image_fin": 38, "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=bmtnaau192810-01.2.16", "titre_corps": "MR. GORDON CRAIG AND BRITISH OPERA", "titre_sommaire": "MR. GORDON CRAIG AND BRITISH OPERA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.38", "debut_caractere": 2963, "fin_caractere_exclue": 4308, "texte": "MR. GORDON CRAIG\nAND BRITISH OPERA.\nAN OFFER TO SIR THOMAS BEECH AM.\nMr. Gordon Craig has sent to \" The Mask \" the follow-\ning \" Open letter \" to Sir Thomas Beecham.\nAS a slight sign of appreciation of the work which you\nhave done for the British Theatre, I would like to-\noffer you a contribution to your present scheme in the form\nof the mise-en-scene, with designs, for any one British\nOpera that you may select to present on the completion\nof your plan to establish British Opera once and for ever\non a sound basi*.\nMy offer is made on one condition only—that the\nentire scheme be British, and be allied to no foreign per-\nsons or purposes whatever. I make the one condition be- -\ncause 1 believe that this is the sole way to secure success.\nWhen Englishmen shall have united to establish at home a\ntheatre as strong as that of Reinhardt in Germany and of\nStanislawski in Russia, it will be time enough for us to let\nour attention be diverted with talk of the internationalism\nof art, for we shall have made safe what is at present in\ndoubt—the British contribution to that internationalism\".\nSir Thomas Beecham says :\n•• I think, it is a very important contribution to the\nsubject, but 1 have not had time to give that considered\nreply to it which I think the letter deserves. In principle\nI agree with everything Mr. Gordon Craig has said."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c037", "article_bluemountain": "bmtnaau_1928-10_01#c037", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "181", "image_debut": 40, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17", "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": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 6288, "texte": "BOOK REVIEWS.\n\nTHE NEW VARIORUM EDI-\nTION OF SHAKESPEARE. \"The\nTragedie of Coriolanus \" Edited by\nHorace Howard Furness Jr. A. B.\nLitt. D.J. B. Lippincoti Co. Price 30-.\nI have always treasured Furness's Va-\nriorum Edition of 44 Hamlet \",\n44 Macbeth \", 44 Lear \" and a few\nothers, and this 44 Coriolanus\" adds\nto my treasure.\nIt is a real mine of learning, for\nhere we have what almost everyone\nhas written about each passage of the\nplay, and we have it on the spot,\nthese commentaries being on the same\npage as the lines o; word referred to.\nSo that besides the scholarliness of\nthe work there is an aptness, a neat-\nness, and an immediate response to our\nappeal 44 what does this line mean ? \"\nSometimes the scholars, attempting\nto explain too much, become quite\nincoherent and lead us astray; it is\nthe clear statements of a poet which\nare the best of Coleridge ; he could\nunderstand Shakespeare very well. But\nthen he was a poet.\nAn excellent Index helps us to trace,\nif we wish to, all the passages here\nquoted from Coleridge, or to find what\nSalvini thought of the character of\n44 Coriolanus \", what he did here and\nthere, and what Winter the American\ncritic wrote of Salvini in the role.\nThe interpretations of Irving, Phelps,\nForrest, Macready, Kemble, are all\ndealt with adequately: and we are\ngiven the source of the plot in full.\nAltogether I should say it is the\nmost useful edition in existence, with\none fault;— that each volume is far\ntoo bulky, and an edition should be\nprinted on India paper without delay.\n\nSHAKESPEARE IN THE 18th\nCENTURY by David Nicol Smith.\nClarendon Press. Price 5/-.\nQUOTING Dryden's famous passage\non Shakespeare in his essay 4 4 Of\nDramatic Poesie \", the author of this\nlittle book tells us that 44 it contains\nin essence.... what the critics Were\nto say for the next hundred years \".\nSo that Shakespeare was fixed up for\nthe whole 18th century by a twenty\nline passage of praise more or less vague-\nly worded by the excellent Dryden.\nAmongst other things Dryden said\nthat he was sure that the wit of his\npredecessors.... 44 our predecessors\nhe writes.... 44 was not that of gen-\ntlemen \".\nIt was obviously chilly that mor-\nning when Dryden penned those words,\nand the warmth of wit was no longer\nwhat it was; the capacity to move\nwit—one's own one's mother-wit\nwas near gone. The machine is slow-\ning down.\nDryden's gent'emen were good fel-\nlows, but after all, they had to con-\nsider the French ways or there would\nbe trouble. The 44 something ill-bred\nand clownish \" that was in the Eliza-\nbethans (and which won for England\nso much) was all right for dead men,\nbut for the living a more profitable\nwit, a wit which could hold its own\nin London, suppose at the French Em-\nbassy,—not a French wit but a—well\na more gentlemanly wit.,., that is what\nwas felt Was so desirable at that mo-\nment.... 44 just now \" they say. 44 Fine\nfellows in Elizabeth's time but....\" and\nas David Nico! Smith says, 44 the rise\nof the middle-class and all that it\nmeans dates from that time \".\nDryden was an experimenter. His\n44 AH for Love \" is Shakespeare's\n44 Antony and Cleopatra \" rewritten ;\nit is 44 a triumph of craftsmanship \".\nVan Gogh experimented in this way\nwith paintings of his predecessors,—\nwith Daumier's and Millet's and Do-\nre's.\nThere seems to be no law to for-\nbid it, and why should there be ? If\nI were a producer I would rather like\nto take Shaw's 44 St Joan \" and re-do it.\nA good deal of such experiment is\ngoing on up in Russia. But one should\nat least wait until the author of the\nwork one wants to cut up has been\ndead twenty-five years.\nDavid Nicol Smith is a little stern\nwith the stage, and assures us that\n44 We shall have a lower opinion of\nthis period if we judge it by the to-\npical representations and again, 44 1\ncannot think that our successors a hun-\ndred years hence will get us quite\nright if they take some recent costly\nproduction of the London theatres as\nthe true measure of our appreciation \" :\nhe returns to this several times.\nI suppose he is right: it is a pity\nthat no more effort in the London\nTh eatre is made to prove him wrong.\n\nTHE WORLD TO PLAY WITH\nby Ashley Dukes. Oxford Univer-\nsity Press. Price 6/-.\n■KHMMOWMIMI « IV IWMH ■■MlltflMMMBMIMMll IIIMrmHWaMMMMMMaH\nBEGINNING with some sound good'\nseventy blank verse lines on Shake-\nspeare which are full of common\nseme, Mr. Dukes then drops into\nprose and wriles us some of the bright-\nest essays on the Theatre that have\nappeared for a long time\nMr. Dukes, like most artists, is able\nto appreciate things well, and he is elo-\nquent and logical, and he is also quite\nprovocative.\nI believe if he went slower his ar- ~\nguments might gain in strength, but\nsuch speed is in the eloquent talk that\nyou have no lime to stop him to cry\n41 Hi you ....Dukes ....hold on there\nsay it again slowly ! \". Besides, that\nwould perhaps be like asking the con-\njurer to do his trick slowly. With\nthis excellent if dangerous gift he may -\ncare to do but little more than he\ndoes : he may prefer to develop gifts\nwhich he does not even possess, and\nthen he will do as most of us do, he\nwill attempt to play \" Hamlet \" when\nborn to be the greatest \" Osric \" ever\nseen upon the stage.\nOne of the mam faults of our Eng- \"\nlish Theatre, in fact of all our English\nactivities, is that everyone is in his\nwrong position ; not trying to fill too\nsmall a role or too large a one, but\nto fill one for which he is not very well\nadapted.\nWe have the good Butt of Drury .\nLane : the role he should fill is that\nof plain unadvertised advertising ag:nt\nto a good Theatre—no more. He is\na minor talent. Instead he would swell\nup to seem like a Kemble and is slightly\nridiculous.\nCochran, too, is quite out of his\nright place, ....and now we hear that\nLord Birkenhead, after proving his\npowers as a unique statesman, has\ngone into business.\nReally, it is not a little stupid to\nalio w this sort of thing.\nThe Button-moulders rule empire\nand the men of genius make and sell\nbuttons.\n\nTHE ARTISTS OF THE 1890's\nty John Rothenstcin. Routledge &\nSons. Price 10/6. Illustrated.\nTHIS book has given me a good\ndeal of pleasure; not only be-\ncause it is so ably done and charming-\nly written, but because it tells me of\nmen I regret not to have known, and\nof others of whom I am glad to *\nknow more."}, {"page_pdf": 41, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 6801, "texte": "Some of the anecdotes and the\nsayings of Wilde, of Legros, will be\nquite new to the Public, and they are\nfresh and excellent because preserved\nfor us so carefully by William Ro-\nthenstein, the father of the author of\nthis book.\n44 Conder is wonderful, my dear\nWill, he takes you aside and persuades\nyou with that irresistible acumen which\nis the peculiarity of poets, to buy a\nfan for five pounds for which you were\nperfectly prepared to pay twenty\".\nWilde saying this is excellent, and\nthe words have been faithfully repor-\nted. What cannot be recorded is\nWilliam Rothenstein's manner of repeat-\ning it.\nSurely few men of this age enjoyed\nmore or better than William Rothenstein;\nand this intense enjoyment all flooded\nwith the most innocent laughter, the\nmost glowing appreciation of a jest,\nthe most tender affection for who ever\nmay have uttered it, was a thing no\none will ever be able to describe ; or\nthe aspect of Rothenstein when telling\nsuch things and adding to them with\ngusto.\nHe had and has all sorts of sides,\ngrave, witty; but the exuberant side\nwas and is a joy to all who know him.\nAnd so perhaps the most interes-\nting chapter in this volume is the one\nwritten on him by his son. The least\ninteresting to my . mind deals with\nMax Beerbohm.\nI suppose to some people all these\nartists of the IB9o's seem to have\nlived ages ago. Some shall even sup-\npose them dead, some living never\nheard of them. And I dare say that\nthere is only one of them whose work\nwill in the faintest degree give to\nothers who wish to know that parti-\ncular artist some glimpse of the man\nhimself. And that seems to be im-\nportant and so very nice. What else\nis nicer or more important ?\nAnd that one is Max Beerbohm.\nAnd yet, although I say this, there is\nnobody a hundred years from now\nwho will know the man sufficiently\nfrom his works to be able to say in\ntruth that he knows him. Flow ter-\nrible ! And here have 1 been all my\nlife imagining that I knew Flaubert,\nthat I knew William Blake, oh very\nwell; Van Gogh, and even men who\nlived as far ago as Callot and old\nFerdinando Bibiena I And here again\nis sufficient reason for sudden death,\na happy release from all the terrors\nof life. Alive, you hardly know your-\nself ; dead, and I'm damned if a soul\nwill know you. And if it were not\nfor the fact that this is a delicious\nthought, it would he really very ter-\nrible. It is delicious in the sense that\na great adventure is delicious.\nWho knows of anyone's great ad-\nventures ? Putting aside Robinson\nCrusoe's made-up affair, no one knows\nwhat it is makes them so wonderful,\nand Beerbohm must feel this delight,\nnot of being unknown* but forever re-\nmaining unknown.\nSo when Mr. John Rothenstein, fol-\nlowing an excellent tradition that has\nbrought forth innumerable volumes for us,\nwhen this young critic adds one more\nvolume, to the existent efforts to explain\nwhat cannot even be apprehended, it\nshows that life is merely to-day as it ever\nwas, and as foolhardy. And all I would\nsay here is that the reader must not\nsuppose that he gets at any of these\nartists of the nineties. Books like this\none are all pleasant small talk, and\nwhen the talk is between Ricketts £nd\nWilde, Whistler and the others, then\nit is entertaining small talk. And in\nth s book there are quite a number of\nnew anecdotes, scraps of conversation\nwhich are not to be found in other\nbooks which deal with the same ce-\nlebrated figures.\nEspecially interesting is the Ricketts\nand Shannon chapter. There are\nsome good illustrations, and one by\nWalter Greaves seems to me to be\nthe most 44 advanced\" thing in the\nbook. It seems like one of the paint-\nings of the futurists, and it would\nhave been nice to have reproduced it\nin colour.\nPerhaps Mr. John Rothenstein will\nwrite a whole book about Greaves,\nthe Greaves no one knew and no one\ncan know, and give us twenty or thirty\nof his designs in colour.\nAnd I like Mr. John Rothenstein's\ntalent for keeping the ball rolling ; it\nis really excellent. When he has no-\nthing to say he can still go on and\nhold us as he tells us what\nthe modern mind was doing at the\nend of the 18th century and what\nOswald Spengler says, and why there\nwas a revolt against classicism and ail\nthe rest of it.\nI am unconvinced, but I am rather\nproud of Mr. John Rothenstein.\n\nTHE THREE COUSINS by Geof-\nfrey Moss. Hutchinson & Co. Price 7/6.\nDESCRIBED as 44 a collection of\nsparkling stories \", these fourteen\ntales would sustain any young author's\nreputation, being varied, entertaining\nand original ; but sparkling is the wrong\nadjective to use.\nNot dull like the most popular of\nshort story telle* s, he is rot as remark-\nable as Conrad, for example.\nHe holds a place somewhere be-\ntween these two, which is, after all, not\nso mean a place and Mr. Moss can\nstill do better.\n\nMEMOIRS OF MADAME DE\nPOMPADOUR by Mme du Hausset\nher Waiting- Woman. Roulledge. Price\n10 6 net.\nMEMOIRS OF MADAME DU\nBARRI by herself. Cassell. Price\n10/6 net.\nTHESE memoirs of the two conspi-\ncuous ladies who in turn appealed to\nthe fancy of Louis XV, issuing from\nthe two different publishing houses,\ncome aptly together by the same post.\nTo take the senior, and greater\nlady first. Her Memoirs, translated,\nwith an Introduction, by F. S. Flint,\nhave come down to us by the merest\nchance, having been saved from bur-\nning by the intervention of M. S£-\nnac de Meilhan, a friend of her bro-\nther the Marquis de Marigny, 44 Find-\n-44 ing the Marquis one day burning\n4: papers, de Meilhan saw him pick\n\" up a large packet, about to throw\n44 it on the fire, with the words, 44 It\n44 is the diary of my sister's waiting-\n-44 woman. She was a very worthy\n44 creature ; but her diary is all twad-\n-44 ale. To the fire with it\n44 He stopped. 44 Do you not think \",\n44 he continued, that 1 am like the cur£\n44 and the barber in Don Quixote,\n44 when they burnt the romances of\n44 chivalry ?\n44 i will ask you to spare this one \"\n44 said Senac de Meilhan. 44 I like\n41 anecdotes, and I shall no doubt find\n44 something to interest me \\\n44 I am quite willing \" replied M.\n44 d? Marigny, and he handed the\n44 packet to him \" : . ..and so we to-\nday can read, in this English ver-\nsion so excellently printed by Messrs\nRoulledge in their admirable 44 Broad-\nway Library of XVIII Century French\nLiterature the amazing story, per-\nhaps 44 all twaddle cf Jeanne-An-\ntoinette, who, daughter of Francois\nPoisson the weaver, became virtual\nQueen of Fran.ce, as it passed before\nthe observant or curious eyes of her\nwaiting-woman Mme. du Hausset.\nIt is the tale of a dazzling career ;\nthat of a woman of the lower bour-\ngeoisie who fascinated Louis XV, and\nfor whose caprices the greatest figures\nof the court were subject at any time\nto public humiliation, as when the\nDue de Richelieu nearly went to the\nBastille for the fourth time because he"}, {"page_pdf": 42, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 7302, "texte": "%\nattempted to thwart her over her thea-\ntre. Voltaire also, the 44 first benefi-\nciary of Madame de Pompadour's in-\nfluence ' so soon as the King's patent\nhad raised her from the humble estate\nof Madame d'Etioles, was to owe\nhis dismissal to her, following upon\nsome indiscreet verses: the Court, pre-\npared to mock, was obliged, outwardly\nat least, to be respectful and order\nitselr lowly and reverently to the new\nand brilliant star in the royal firma-\nment : and the Duchess, having attain-\ned her position, knew well hew to\nmaintain it.\nLou's XV was, we are told, all\nhis life 44 pursued by an implacable\nboredom '', and she held him by her\ncapacity to keep him amused. 44 When\n44 the charms of her physical attrac-\n-44 tions began to wane, she invented\n4t her theatre, Le Theatre des Petils\n•4 Appartemens on which she dis-\n-44 played her graces and talents as an\n44 actress, singer and dancer \". The\nKing was, we read, proud of his ac-\ncomplished mistress. 14 1 he theatre cost\n44 a lot of money; but it achieved\n4 Madame de Pompadour's purpose\n44 so well that when, somewhere about\n44 1752, all intimate relations had\n44 ceased between them\" says this twad-\ndle, 44 she became the King's indis-\n-44 pensable friend, confidante, adviser,\n44 and assistant in the business of\n44 State \" : ....which shows that a\nTheatre sometimes may have a use\nthat one had never thought of before.\nOne of the illustrations in the book\nshows a 44 Performance of A as et\nGalciee by Madame de Pompadour's\nCompany from a Wash drawing by\nCochin, \" and, in Appendix A., there\nis an interesting fourteen-page Histori-\ncal Note on *4 The Performances in\nthe Little Galleries of Louis XV\ntranslated from the account by Loujon.\nWhen Madame de Pompadour had\nmet death, dressed in full Court cos-\ntume, in 1764, after being the 44 un-\ncrowned queen of France \" for twenty\nyears, His Most Christian Majesty\nLouis XV was in grave danger of\nfalling into a disastrous boredom. For,\nalthough the Marquise had for ten\nyears or more been but 44 indispens-\nable friend, confidante, adviser\", her\ncharming finger had been in every po-\nlitical and domestic pie ; by her intel-\nligence and skill she had 44 maintained\nherself in the favour of a monarch as\nfickle as he was ruthless \", this being the\naccepted notion of Louis XV, and\none being reconsidered to-day. When\nher own charms had ceased to at-\ntract \" she 44 had instituted the Parc-\naux-Cerfs, and kept it replenished with\ngirls of fitting comeliness \". Now\nLouis, already fifty-four, found himself\nsuddenly, as one may say, at a loose\nend, if so colloquial an expression may\nbe applied to so imposing a personage.\nHe had, thanks to Madame de Pom-\npadour, efficient ministers, so that po-\nlitically he should not miss her too\nmuch ; and Lebe!, 44 h)s discreet and\nassiduous valet did what he could\nto provide other, attractions and 44 a\nconstant variety of beauty \" : but the\nking, says twaddle, missed 44 the men-\ntal stimulant of some clever or impu-\ndent woman as his constant compa-\nnion , and at this propitious moment,\nin 1769, Lebel, probably harrassed\nby his responsabilities, had the good\nfortune to introduce to his royal mas-\nter the beautiful Madame du Barri,\n... and the trick was done. 44 From\nthat day until his death, five years\nlater, Louis was, we are told, a mere\ninsiiument in her hands, to be wielded\naccording to the schemes of the men\nwho had put her in power \".\nMadame du Barri was also of no\nvery exalted birth. The best even\nshe herself can find to say of her fa-\nther's family is that it was 44 by no\nmeans despicable \", that it 4* came\nfrom very good citizens and even of\npetty nobility but 44 My father, ha-\nving no fortune, had been compelled\nto accept a mean situation as a clerk\nat the Barrieres \", ....was, in fact, a\nCustoms-house clerk. Still Marie-Jeanne\nwas endowed with beauty, a beauty\non which, after the father had died\nleaving his family penniless, her mo-\nther and she staked all their hopes.\nPlaced in a boarding-school at the\nexpense of her rich god-father, she\nwas in her sixteenth year apprenticed\nto a milliner and was 44 almost eman-\ncipated, almost free \"•\nOn the second Sunday of her new\nexistence she went to visit a school-\nfriend : the family took her for a walk\non the boulevards 44 and after the walk\n44 we went to the theatre. It was the\n44 first time such a pleasure had been\n44 presented to me; it so completely\n44 laid hold of my mind and imagina-\n-44 tion that I almost forgot the pre-\n-44 sence of the brother of Genevieve.\n44 Seated by my side, he was only\n44 thinking how he should express his\n44 love for me \", and from that day\n44 The image of Genevieve's brother\npursued me sleeping or waking \". This\nwas the beginning, the 44 first love of\nthe King's future mistress After this\ncame the dashing Comte d'Aubuisson,\n44 who, himself alone, made more noise\n44 than a whole regiment. His inso-\n-44 lence, which I took for grandeur,\n44 had a prodigious effect upon me.\n44 He came to order the prompt com-\n-44 pletion of a hat for the Duchess de\n44 Viileroißrother Nicholas, with\nhis proposals of honourable marriage,'\nW£S soon forsaken. 44 Had 1 listened\n44 to my heart, it would have guided\n44 me wisely, but I abandoned myself\n44 to my vanity, and my vanity des-\n-44 troyed me After that came a\n44 young Biscayan \", 44 He was the\nthird ! \" : but the list of all the con-\nquests previous and subsequent to the\ngreat conquest is far too long, and\nmust be read in these confessions of\nMadame du Barri herself, through\nwhich we get vivid glimpses respec-\nting half the notabilities of the times.\nMadame du Barn\", like Madame de\nPompadour, had her taste for the\ntheatre : and the sisters Verri&re, who\n44 bore the sceptre of the highest gal-\nlantry\", Mile Guimard, and other figures\nof the stage pass across these pages, in\nthe midst of all kinds of details of intrigue\nand scandal; while some interesting details\nare given of Madame du Barri's own\ntheatricals and the later performances\nof ihe Petit Tiianon, relating to one\nof which the following anecdote is re-\nlated :\n44 At one of these representations,\n44 and just at the moment when the\n44 queen (O.had concluded a little song,\n44 a loud hiss was heard. Pier majesty,\n44 fully sensible of there being but one\n44 person in the company who would\n44 presume to venture such a mark of\n44 disapprobation, advanced to the front\n44 of the theatre, and, addressing the\n44 king, said, with a low curtsy, 44 Sir,\n44 if my performance does not meet\n44 with your approbation, have the\n44 kindness to retire. You will have\n44 your money returned you at the\n44 door.\nThis speech 44 was loudly applau-\n-44 ded, and the king, while asking\n44 pardon for his offence, protested\n44 l hat he had committed it mere-\n-44 ly for the sake of mischief, and\n44 by no means from ill-nature \". How*\n44 ever \", adds the Duchess, 44 it\n44 was universally admitted that Marie\n44 Antoinette's acting fell far below\nmediocrity, and might well have\n4; justified the disapproval of her con-\n-44 sort. The royal corps was soon\nweary of playing to so scanty an\naudience, and longed for a few\nadmiring friends to witness their exer- \"\ntions. Accordingly, a select number\n44 of courtiers was admitted, to the\nextreme envy aud jealousy of such\nas were excluded. One of the mal-\n\n(i) Marie Antoinette."}, {"page_pdf": 43, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 6753, "texte": "4i contents -said, in my hearing, 44 Her\n\" majesty seems over-fond of playing\n44 comedy; perhaps, ere long, she will\n*4 favour us with a tragedy \".\nWell, there was tragedy enough\nawaiting them all, actors and audience,\nand, if Marie Antoinette played her\npart on the theatre-stage poorly, she\nplayed it courageously enough in that\n>last tragic act on the Place de la Re-\nvolution ; whereas Madame du Barri,\ncondemned to death, 4i With an over-\n-44 whelming, passionate desire to live ,\nno matter at what cost, began a se-\nries of 44 revelations compromising every\n,$4 one whose life, she hoped, might be la-\n-444 ken in exchange for her own \" ; so that\n114 more than one innocent went to the\nVguillctine on the strength of her words * ,\nwhile she herself was borne to the\nscaffold in such crazy terror, so 44 de-\nmented with anguish \" that those ac-\ncustomed to the composure of the\naristocrats -before a like ordeal were\namazed.\nThe Memoirs from which this book\nis taken appeared, says the editor, in\n1829, under the nominal editorship of\nLamothe-Langnon. Though 44 written\n44 as autobiography, it would, perhaps,\n4 44 be belter to say that in those Memoirs\n* 44 the editor collected the many remi®\n* 14 niscences then current of Madame du\n1 44 Barri and welded them into connected\n'44 narrative. The facts related are indis-\n* * putably true, and their presentation\n44 through the medium cf her personality,\na personality, which pervades the whole\n444 book, throws a light of its own\n'S4 upon that strange and tragic period\n44 immediately preceding the French\n44 Revolution \".\niHowever they came into being, they\n* are certainly readable.\n\nLAZARUS LAUGHED. Engine\ni O'Neill. Boni and Lioeright, 1927.\n! Price $ 2,50.\nif\"\" Lazarus : (His voice is heard in a\n□J gentle, expiring sigh of compassion,\nfollowed by a faint dying note of\nlaughter that rises and is lost in the\nsky Hke the flight of his soul back\n. into the womb of Infiniiy).\n44 Fear not, Caligula I There is no\n- death ! \"\nWell, we should call this devilish\nhighbrow in England, and in Italy we\nshould call it precisely highbrow, and\nin France they would call it a lot\nmore. And what would they say in\nv Germany ? I think they would rather\nlike it, but I also think that the prin-\nting of a play is a most unfair pro-\n- ceeding, because it has to come be-\nfore ordinary men with a sense of\nluimour and other common senses, and\nwhen they read this,—\nHa-ha-ha-ha ! Ha-ha-ha-ha !\nLet us die, Lazarus !\nMercy, Laughing One I\nMercy of death !\nHa-ha-ha-ha ! Ha-ha ha-ha I\nNo, it simply won't wash, they are\nin no laughing mood, and although I\nam pretty positive that O' Neill is not\na man with a great sense cf humour,\nyet with a lot of practicability in his\nnature, with the sense of a theatre\nman and a really most able being, in\nthe piece I have quoted there is so\nmuch insincerity and so much twaddle,\nthat i am forced to believe that it is\nnot O* Neill's fault but the fault of\nthis beastly fjrint, and the habit of\nprinting plays which should be heard\nand seen and never read. But I fancy\n44 The Mask \" has said this for some-\nthing like twenty years, and of course\n44 The Mask \" is wrong. Because forty\nout of eighty of the pages of Macbeth\ncan be read, and the whole thing blaze\nlike anything and s ldom is there any\nsound of insincerity. And the same\ncan be said of forty of the pages of\nKtng Lear, and of course other plays.\nBut even to have found two which\nprove tone wrong about one s sweep-\ning theory is a comfort. The only\ncurse is when these Lazarus plays\nprove you right.\nThis play of O' s is much\ntoo full of stage directions. For\nexample,— believe me, ;I open entirely\nat random :\nPompeia walks to the dais which\nshe ascends slowly until she stands by\nCaesar*s couch, beside himy confron-\nting Lazarus.\nThe stage directions continue -for\nanother six lines and end up :\nPompeia leans over and takes a\npeach from the bowl of fruit on Cae-\nsar s table, and taking Tiberius hand\nin the other, she fusses it, and calls\ninsistingly ;\n44 Caesar, it is I, Pompeia ' .\nNow, when you have to tell actors\nthat there have to be peaches, and\nnot pears, in a bowl on a table and\nthis chief actress has to walk slowly\nto a dais, and that she has to stand\nbehind, and not at the side of Cae-\nsar, things are getting very impracti-\ncable. Suppose in 44 King Lear '\nhad some such strange and useless\nstage direction. I ake for instance Cor-\ndelia's line : 44 And so I am , You\nall remember it. Good ! Now let us\nre-write the stage direction :\nLeaf...* Bellevfi trr»s lady to be my\ndaughter \".\nCordelia (walking to the dais, up\nto which she trips with rapidity, and\nstands behind Lear's couch, Lear con-\ntinues to stare into space. His whole\nbeing relaxing, a dreary Smile softens\nhis hard mouth. Cordelia runs over,\ntaking a whisp of hawthorne from a\nbowl on the right of Lear, and stro-\nking the white hair of her father with\nthe bough, kisses his forehead, coos\ninto his ear:) \" And so 1 am\nNow doesn't this spoil the whole\nthing ? And it it can spoil Shake-\nspeare, how easy it is then to spoil\nO Neil!. But fifteen lines of stage di-\nrection is nothing to O'Neill. There is\none of his which counts up to about\nthirty-two. Between almost every speech\nis a stage direction. Mary is to say\n\" hysterically the father is to say\n\" frenziedly\", the mother is to say\n44 fanatically \" or \" tearfully Mary\nis to speak 44 defiantly \". Now there\nare at least seventy shades of defiance\nper person, one hundred shades of\nhysteria and of frenzy, and therefore\nit is making it so easy for the actor\nwhen he is told as here that all he\nhas to do is to be frenzied or de-\nfiant in one and the same old way\nthe one and only way according to\nthis author.\nIf there are going to be long stage\ndirections I like them to be all of a\nmore subtly discriminating nature than\nthis. Let the author look into the whole\npast life of Mary and the father and\nthe mother. Let us hear what kind\nof voice Mary actually had. How it\nwas affected by a feeling of defiance\non Mondgy, Tuesday, and so on. What\nsort of thing made her snap or snarl her\nwords. What made her coldly de-\nfiant, frantically defiant, and sincerely\ndefiant and so on. But that would mean\nlong discussions of Mary and her ways,\nher life, and even then 1 doubt if we\nwould get it. Surely the great actor\nis needed at last.\n\nSTAGE DECORATION by Shel-\ndon Cheney. Chapman & Hall.\nPrice two guineas net.\nMR. Cheney's review of Modern\nDecors was already reviewed,\nin its American edition, in the April-\nJune number of 44 Ihe Mask\", and,\nsave for repeating that Mr. Cheney\nis one of the ten or fifleen men who\nfor the last twelve years have been\nclosely observing what is going on in\nthe 1 heatfe? of Europe and America,\nwe refer cur readers back to that\nreview."}, {"page_pdf": 44, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 7093, "texte": "It is a book which, in the swiftness\nand simplicity with which it surveys\nthe work of the New Movement, and\nglances over the Historical background\nof that Movement, should be within\neasy reach of the student and worker\nof the Theatre today : and those who\nmade its American publication a pre-\ntext for finding it difficult of access,\nhave no further excuse now that\nMessrs Chapman and Hall have is-\nsued it in their very midst.\nIt contains 127 illustrations, inclu-\nding reproductions of works by Adolphe\nAppia and Craig.\nII nil— !■■!! !■■■■ IB— 111 I 111 H II ll—l W—i— ll —— ■ ■■■ I ■! 1 ■ II\n\nLETTERS FROM JOSEPH CON-\nRAD. / 895- / 924, Edited by Edward\nGarnett. Bobbs Merrill Company.\nU. S. A.\n\" YY/HAT is life worth if one can-\nW not jabber to one's heart's\ncontent ? These may sound unlike-\nly words to proceed from the iro-\nnic, often sardonic, author of 44 Lord\nJim \" and \" The Secret Agent ne-\nvertheless they are Conrad's own words,\nand addressed to his friend Edward\nGarnelt, recipient of this long series\nof letters which Mr. Garnelt now\nedits and makes public.\nThey show a curious dependence\nupon, as well as a keen affection for the\nman who first, as reader to Mr. Fis-\nher Unwin, recommended \"Almayer's\nFolly \" for publication and, in their\nfrankness, their wholly unguarded na-\nture, pay a tribute to the trusted cha-\nracter. of the friend to whom they\nWere addressed as well as throwing\nmuch interesting light upon the mind\nand fortunes of the one. who wrote\nthem.\nThey reveal how fierce was the\nstruggle for existence of this writer\nwho would not, no matter how despe-\nrately pressed for money, write less\nthan his best. He works under deadly\nfinancial pressure, hedged in by all\nthe domestic worries which lack of\nmoney can bring in their train, but he\nworks on ; and to this intimate friend\nwhom he regarded as his 44 father in\nletters\" he poured himself out through\nalmost thirty years, in letters which,\nas Mr. Garnett says in his sympathe-\ntic introduction, reveal marvellously\nConrad's personality, his buoyant tem-\nperament and resilient moods, his un-\ncanny insight, his skeptical faith and\nphilosophical irony, his charming frank-\nness and great affectionateness, his flash-\ning wit, his humor, often playful,\noften fiercely sardonic \".\nIt anyone still doubt© how hard the\nconsciencious artist's life can be, they\nmay inform themselves convincingly\nenough from these pages: may see\nhow the artist, far from conceiving in\njoy and bringing forth in peace may\nconceive in agony and bring forth in\ndesperation, ...and with every atten-\ndant harassment that can render his\nordeal more severe.\nOn page after page we find such\nsentences as: 44 Am used to hard-\nships and privations of all kinds \" : \" I\nhave had a lot of worries. A man 1\nlove much had been very unfortunate in\naffairs \" and 44 I also lose pretty well\nall that remained Writing about\n44 the ghastly Rescue \", he says:\n** Your commendation of part one plun-\n-44 ges me simply into despair—because\n44 part two must be very different in\n44 theme if not in treatment and I am\n44 afraid this wiil make the book a\n44 strange and repulsive hybrid, fit only\n44 to be stoned, jumped upon, defiled\n44 and then held up to ridicule as a\n44 proof of my ineptitude \" :... 44 I am\n44 in desperation and I have practically\n44 given up the b00k.... I am para-\n-44 lyzed by doubt and have just sense\n44 enough to feel the agony but am\n44 powerless to invent away out of\n44 it \". and so on and so on, interspersed\namong all kinds of interesting details\nof the production and progress of his\nbooks, the negotiations with publishers,\nthe little sums secured as an advance\non royalties to keep the pot boiling :\nand comments on contemporary books\nand writers, and personal news.\nMr. Garnettr, referring to Conrad's\nslow progress in increasing his circle of\nreaders, says that 44 Nineteen years\nof arduous work (1895-1913) failed\nto bring him into real prosperity\nIn 1896 44 He was so depressed by\nhis position that he explained to me\nhis hopes of getting a command at\n•*\nsea «...\nBut in his last years some measure\nof success came to him, and 44 When\nworldly success came at last to Conrad\nit increased his desire to refer to the\nold days and to remind one of any\noffices done him in the early years\nof authorship \".\nIf that be so, Conrad would have\nbeen glad that these letters should be\nmade public, since they are a long re-\ncord of 44 offices done him \" in those\nhard times ; but Mr. Garnett is proba-\nbly the last man to be aware what a\ntribute to himself are these Letters\nwhich he has edited :... or to what\nextent, if they reveal the character of\nthe writer, they also reveal that of the\nman who was his faithful friend for\nthirty years.\n\nA HISTORY OF GARDEN ART\nby Marie Luise Gothein, Edited by\nWalter Wright, Translated from the\nGerman by Laura Archer-Hind. Two\nVols. /. M. Dent & Sons. Price\n84j- net.\nTHIS a work which delights at the\nfirst perusal, and will, I am certain,\ndelight all who possess it for years-\nto come ; for it is on one of the most\nentrancing subjects in the world, the\nGarden, and.it treats of this in the.\nmost comprehensive and satisfying way.\nThe Edilor has reason to say it\nis 44 a work of supreme ability\nthat it presents 44 a panorama begin-\nning in that dim past in which his-\ntory itself took birth, and extending\nthrough ages crowded with vital events\nand heroic figures \", and that it 44 is\n44 at once significant and enthralling to\n44 realize how closely gardening has\n44 been interwoven with those decisive\noccurrences and those momentous\n44 personalities which have affected hu-\n-46 man destinies the most profoundly \".\nIt is a work which takes its place as;\na Garden classic, covering the whole\nground from Ancient Egypt, Wes-\ntern Asia in ancient times, ancient:\nGreece, the Roman Empire, the By-\nzantine Gardens and the Countries of*\nIslam down to the [gardens of the?\nMiddle Ages in the West, and off\nItaly, Spain, Portugal, France, Eng~-\nland, Germany and the Netherlands,\nin the time of the Renaissance. Long\nchapters are devoted to the Time of\nLouis XIV ; to the brencb Garden in\nEuropean Countries; to China and\nJapan; to the English Landscape Gar-\nden, the Tendencies of Garden Art\nin the Nineteenth Century, Modern\nEnglish Gardening, and Landscape\nArchitecture in the United States and\nCanada. There is a detailed table\nor Contents, an excellent alphabetical\nIndex, and 688 enchanting illustrations, .\ngiving views of gardens and garden *\nplans of all ages and all lands.\nMadame Gothein dates her Preface •\nto the first edition in 1913 from Hei-\ndelberg ; her preface to the second\nedition in 1925 fiom Banjoemas, Java, .\nand tells us that it was in 1904, at\na meeting of the New Philological\nSociety at Cologne, in an address on -\nthe Origin of English Landscape Gar- -\ndemng, that she offered 44 the first\nfruits of those studies out of which -\nthis book has grown\": and she is\nright in thinking that this work of\nheis 44 should appeal to readers of\nmany sorts ; to the archeologist, to the *\nhistorian of art, to the historian, in- *\ncieed of any kind of civilization \"."}, {"page_pdf": 45, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 6726, "texte": "We, in 14 The Mask \", naturally\nscan every book first for its relation\nto the Theatre, and we wish Madame\nGothein had found it possible to give\nus more details,... such as in her wide\nand profound study she must certainly\nhave accumulated.... respecting the\ngarden Theatres of the world. Some-\nthing she does tell us, as in the\npage or two devoted to Philip Il's\ntheatre at Buen Retiro : but the ma-\nterial is so abundant ; and Madame\nGothein must know so well where to\nlay her hands on any she has not al-\nready amassed, that we trust she may\npresently give us a book devoted\nwholly to Garden Theatres, ....the\ntheatres of Italy and Spain and Vienna\nand France and England, and the ar-\ntists who produced the plays, and the\nactors who played on those sunlit or\nmoon-lit stages.\n\nPUNCH AND JUDY, With an in-\ntroduction by Charles Hall Grandgent\nand illustrations by Ceorge Cruik-\nshank, George Allen & Unwin. Price\n3/6 net.\nTHIS is a welcome appearance in a\nnew edition of an old friend\nheretofore not easily met with save\namong the ranks of old and second-\nhand hooks.\nUpon an early fly-leaf is inscri-\nbed \" First printed in Great Britain\n1928 \" by which presumably Messrs\nAllen and Unwin intend to announce\nthat this is the first time an edition\nissues from their House : for the first\nedition appeared in 1828 44 with twenty-\nfour illustrations designed and engra-\nved by George Cruikshank, accompa-\nnied by the dialogue of th? puppet-\nshow \" in London, 44 printed for Sep-\n* timus Prowett, 55, Pall Mai!, Bvo \",\nand a third edition 44 printed for Tegg\nin 1844\": and a fifth edition 44 pub-\nlished by Bell and Daldy, in 1870,\nthe plate?, coloured and printed sepa-\nrately, signed G. Ck. \": while a Ger-\nman edition, with the cuts printed in\nsepia, was published at Stuttgart in\n1865. A copy—first-proof etchings\ncomplete, sold at George Cruikshank's\nlibrary sale, 1868, for £ 17.\nThe above dates are given in the\nLife of George Cruikshank (0 by Blan-\nchard Jerrold, who remarks, relative,\nto the 44 Punch and Judy \" designs, on\n44 the power of Cruikshank to inform,\na puppet with life, and keep it wood-\nen still and who gives an interes-\nting passage in which Cruikshank him-\nself relates his entry upon and accom-\nplishment of this particular piece of\nwork :\nHaving been engaged by Mr.\nProwett, the publisher, to give the\nVarious scenes represented in the street\nperformances of \" Punch and Judy 99,\n1 obtained the address of the pro-\nprietor and performer of that popular\nExhibition.\nHe Was an elderly Italian of the\nname of Piccini, whom I remembered\nfrom boyhood, and he lived at a low\npublic-house, the sign of The ' Kings\nArms 9 in the ' Coal Yard \\ Drury\nLane.\nHaving made arrangements for a\n' morning performance' one of the\nwindow frames on the first-floor of\nthe public-house was taken out, and\nthe stand, or PuncKs theatre, was\nhauled into the ' club-room *.\nMr. Payne Collier (who Was to\nwrite the description), the publisher,\nand myself formed the audience;\nand as the performance went on, I\nstopped it at the most interesting\nparts, to sketch the figures, whilst\nMr. Collier noted down the dialogue,\nand thus the whole is a faithful copy\nand description of the various scenes\nrepresented by this Italian, whose\nperformance of 4 Punch ' was far su-\nperior in every respect to anything of\nthe sort to be seen at the present day.\nThe figure whose neck he used to\nstretch to such a great height was a\nsort of interlude.\nPiccini made the figure take off\nhis hat with one hand, which he de-\nfied all other puppet-show performers\nto do.\nPiccini announced the approach of\nPunch by sound of trumpet *\\\n<1 It was only after referring to this\nextract in Blanchard Jerrold's \"Life\"\nthat I discovered it reprinted at the\nend of this new edition, and suggest\nthat, in the next edition, it might be\nhelpfully placed at the beginning, im-\nmediately after the Preface, in which,\nin his brief three and a half pages\nMr* Grandgent finds place to say se-\nveral serious things; as, for example,\nin his closing words: \"now we begin\nto understand why Mr. Punch is so\npopular with us all, and why he ap-\npeals, most irresistibly to the young.\nIt is because we see in him the fulfil-\nment of our repressed desires. He is\nthe Spirit of Revolt. Mr. Punch is\nnot only the Hero—he is also the\ntypical Superman, the supreme Self-\nExpressionist \".\nBut why is Mr. Payne Collier's\nname omitted from the title page\n. ..which bears the names of Mr.\nGrandgent and George Cruikshank\n0n1y..,, considering how important a\npart he played in this record of \" The\nTragical Comedy or Comical Tragedy\nof Punch and Judy \" }\n(1) The Life of Geo ge Cruikshank\nby Blanchard Jerrold. 2 vols, illus:\nChatto & \\Vindus 1882.\n\nLE THEATRE, LE CIRQUE, LE\nMUSIC-HALL ET LES PEINTRES\nDU XVIII SIECLE A NOS\nJOURS. Preface de Camille Mauclair.\nFlammarion, Paris, Price 70\nfrancs.\n\nEXCELLENT M. Mauclair has gi-\n-1 ven us barely fifteen pages of\nPreface and that was clever of him. He\nmerely mentions by names the pain-\nters, designers for the stage, the dancers,\nactresses, singers, and not by any\nmeans all of these: he recalls Wag-\nner and Bayreuth and refers to the\npower that all that is contained in the\nword spectacle has upon painters. A\nword about Fortuny, Bakst and Benois,\nsomething about Mme Raquel Meller,\nand he is done.\nExcellent M. Mauclair; .... but\nwhy did you forget Isadora Duncan ?\nAfter this brief Preface we enter\nthe big book itself and its 118 large\npage reproductions of the lesser known\nand practically unknown drawings, pain-\ntings, and engravings of Circus, Music\nHall and Theatre : more Circus and\nMusic Hall than Theatre.\nThe now rather familiar 44 Concert\ndonne a Rome en 1729 \" by Pan-\nnini reproduced in \"The Mask\" (0\nis given and I was again convinced\nthat some modern painter would do\nwell to repaint that wonderful scene\nand paint it properly. For Pannini\ndidn't : the reproductions in black and\nwhite are many times better than the\npicture itself which is curiously dead.\nI saw the original last month for the first\ntime and had expected so much and was\ndisappointed as never before in any\npicture. Sir William Orpen, if he\ncopied it and transformed it into co-\nlour which was really colour, would\nmake a miracle of it all. Pannini de-\nserves this of Orpen for he has de-\nsigned it well.\nTwo drawings by C. N. Cochin n-\ncluded in this book, designs for the\ninterior of a little court theatre, are\nvery delicious and are quite new to\nme, as is the Decor by Isabey of 1826,\na not at all Isabeyish thing, but pretty,\nA Decor attributed to Carlo Bi-\nbiena should surely be attributed to\nhim for as short a time as possible,\nfor it is not by him ; no Bibiena ever\n\n(i) The Mask. Vol. 13, 1. January 1927\nby courtesy of \" The Studio \"."}, {"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 6648, "texte": "failing to the extent this Dec°r fails\nin perspective, design and charm, and J\nin that Gal!i-c elaboration which is i\nthe hallmark of th's famous family of i\nscenographers.\nA reproduction is given of a water 1\ncolour (is it a water-colour?) by Tou-\nlouse-Lautrec from the collection of\nM. Arnold Seligman. But not for\nthe usual reason does it charm me\nthough it delights me no less so. Why I\nlike it so much is that it makes me laugh\nfor very long when ever I look at it.\nIt represents Valentin le desosse and\nla Goulue dancing at the Moulin-Rouge:\nand here again in this design are those\nhigh-brows to which I referred on ano-\nther page (T), in my review of the pro-\ngramme of the 1928 Folies Berg^res.\nTen to eleven high-brow gentlemen\nin evening dress are depicted looking on\nat Valentin and La Goulue and taking it\nto be wonderful serious high art. The\nwrapt expressions of the wearied men\nwho have come out late to taste high-\nart, to differentiate betwixt La Gou-\nlue and something, say, at the Opera\nhouse at which they have sat, sitting\nout the, to them, wearisome show.\nThese are the genuine high-brows ;\nplain good middle-class or, may be,\naristocratic people with noth ng to do,\nwho may once have read a play by\nRacine, may have heard of one of\njokes, but who want to forget,\nwant to go further and delve into the\ntruer beauty. And they search for it at\nthe Moulin-Rouge, for some artist who\nloves something in La Goulue has in\ntheir hearing said she is 44 divine\nThey come, these ten or eleven guests\nin evening dress, to find that, and,\nseeing her ugly feet, they look down\non the floor and search back in their\nminds for some old fable which shall\nhelp them to understand the profound\nsignificance of these hoofs :—not hers\nonly but those of M. Valentin too.\nThus, wasting their time and suppor-\nting the very worst kind of dancing,\nthese motionless men anyhow very well\nserve Toulouse-Lautrec as models.\nAnd I saw them only last month\nat the Folies Bergeres—that's the fun\nof it: the same old crew—thinking\nhard—trying not to show the emo-\ntion that had gone to their heads and\nwas fixed there—raising their brows to\nward off any likely descent of their emo-\ntion to the heart—wrapt, tense, tingling\nup there, and all about less than nothing.\nI should add that no library will\nbe complete without a copy of the\nbook of 118 fine plates: and Ido\nadd it.\n\np. b.\n\n(i) see page 769.\n\nTHE PLA YGOERIS HAND-\nBOOK TO RESTORATION\nDRAMA by Malcolm Elwin. Jona-\nthan Cape. Price 6/-\nTHIS is the second Hand-book to\nthe Drama that Mr. Cape has\nissued, and very useful it will prove\nto a number of people.\nIts biographical notes on the players\nof the period were unexpected : it is\ntoo often, when but little is exactly\nknown of the ancient actors, that these\nbiographical lists are drawn up full of\nsurmise and very little else.\nThe author, while writing of the\ntimes of Charles 11, still keeps us in\ntouch with today, and this prevents\nthe work from becoming too oryly\nhistorical: but for all this hundreds of\nthe dry facts are there, and by aid\nof an index we can find them at\nonce.\nIt is a happy addition to the ear-\nlier works by Dr. Allardyce Nicoi!\nand Mr. Palmer, and to both works\nI was glad to see Mr. Elwin is happy\nin his praise.\n\nELLELINE TERRISS by Herself\nand with Others. Cassell & Co.\nPrice 7/6 net.\nILLUSTRATED by delightful pictures\nI of this little lady, the book is charm-\ning from first to last. And very in-\nteresting, and screamingly funny at the\nleast opportunity.\nThere is a record too which runs\nthrough all the entertaining gay pages,\nand it is a record oi very hard work.\n\"Who would guess it to look at the\nportraits of this young and ever po-\npular actress.\nBut then that has been part of hei\nart—to hide the stress and worry oi\nthis labour of love ; for though she\nlias made great successes, financial ones\ntoo, she has always looked on her nfe\nand career as two things, to be devo-\nted to her profession and to her partner\nin it—her husband Seymour Hicks.\nIt is a veiy admirable record.\n\nCHAMBERS ENCYCLOPAEDIA,\nNew Edition.\nIT is naturally the Theatrical entries\nwhich we turn to ; and straight away\nwe find fifteen and a half pages de-\nvoted to the word Theatre, and the\nwhole question of Theatre, ancient and\nmodern, gone into most thoroughly.\nFirst touching upon the Theatre in\nCrete, the writer reaches the Classic\nTheatre, treats of its building, its fit-\ntings, its performers and its decline.\nThen the Christian Theatre, Early Eng-\nlish Theatres, Italian and French in-\nfluences, and the modern movement\nfrom Godwin down to today.\nThis is followed by an excellent\npassage on the Art of Acting, and at\nbrief one on the Licensing of Theatre?,,\nBesides this long article we have:\nethers on Amphitheatres, Drama,\nMasques, Mime?, Mystery ana Miracle\nplays, Opera, and Pantomime.\nChambers' Encyclopaedia will not\nbe behind the Encyclopaedia Britan-\nnica in its proper and most modern pre-\nsentation of this dirhcult subject, but\nwill assuredly be consulted before any\nother book by anyone who writes on\nit in future.\n\nTHE PIKE FISHER by Edward\nF. Spence K. C. ; A. & C. Black.\n(price not given).\nTHE writer, 44 E. F. S. \" is the\nPike fisher and there is a por-\ntrait of him as frontispiece looking as\ngentle as any sucking dove.\nFacing page 67 is the poitrait of\nhis collaborator—the Pike—. A more\ndeadly looking devil I never set eyes on.\nIt holds dozens of designs for masks,\nthis pike's head.\nBut is he, was he in life, in pond\nor rivers or in lakes,... so deadly\nas his face would say ? Wasn t it\nMr. Spence who made him do it ?\nIf it hadn't been for such men as\nSpence would such a fish as this same\nPike ever have existed ? I have al-\nways felt that all sport, with animals,\nbirds and fish as the source of sport,\nwas cruel and unpleasant. Man ver-\nsus something his own size, without\nweapons which carry a hundred yards\nand exterminate easily, seems fair play :\nsport of the kind I refer to seems to«\nme unfair. So when I look at Mr.\nSpencels face and then at this Pike's I\nam puzzled what to think.\nThe book is full of instructions which\nto other Pikeists will be of value. To\nme 44 I believe that the pike does not\nsuffer physically from pain \" is comfor-\nting. I wonder is he subject to the *\njoys of pleasure. Presumably not.\nMr. Spence's book is full of good\nstories and several stage asides.\n\nrwinrmmr M ■ ■■■■■ ! I MIWHIHIIBIIHII I—nlIIWWIFRN———^\nTHE HEPTAMERON of Marga-\nret, Queen of Navarre. Stanley Paul.\nPrice 2)6 nel.\nTHIS new volume in the 44 Interna-\ntional Library \" forms a compa-\nnion to the already issued 44 -\nmeron *' to which it is related both by\nthe plan of its construction and by"}, {"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 3317, "fin_caractere_exclue": 5590, "texte": "LETTERS OF WOLFGANG\nAMADEUS MOZART Selected\nand Edited hy Hans Mersmann: trans-\nlated from the German by M. M.\nBozman. Illustrated. /. M. Dent &\nSons. Price 10/6 net.\nTHIS new volume in Messrs Dent's\n44 Internationa! Library of Books\non Music \" gives us nearly three hun-\nd ed pages of delightful letters, covering\nthe whole of the composer's life froui\nearly boyhood until his death in 1791;\nletters intimate, vivacious, and illumina-\nting all the inner relations and vicissi-\ntudes of Mozart's life, as well as throw-\ning much light npon his work and\nhis relations with the public men of his\ntime, and his own reactions and esti-\nmates respeebng them.\nHere we have the life of the courts\nand opera houses and drawing-rooms ;\nof the poor lodgings to which he re-\nturned after his triumphs; the family\ntrials ; the little but affectionate conflict\nwith his remarkable father; his love\naffairs and marriage; in fact the man\nhimself revealed in his own words, in\nhis response to others, and in their cri-\n* ticisms of him. It is all informal, spon-\ntaneous, and charming, for even the\nseemingly severe but so affectionate let-\nters addressed by Leopold Mozart to\nhis son, when read after a lapse of a\ncentury and a half, retain all that en-\ngaging quality the man possessed and\nwhich made him so loved by his great\nson.\nThat this book is not as good as the\nsource from whtch it was drawn cannot\nLe helped. For the English reader\nnothing can improve upon Edward\nHolmes' 44 Life of Mozart \" in which all\nthese letters appeared first in English.\nThat book is one of Dent's 44 Every-\nman Series \" and is one of the most\nenchant ng things to read ; and it al-\nways seems to me a pity to forget or\nhelp the public to miss the best bock\nfor the s*ke of biinging out a merely\ngood book.\n\nthe racy and romantic frankness which\ncharacterises the tales.\nMargaret of Angouleme, Queen of\nNavarre, wrote this book about four\n' years before her death in 1549 for\nthe amusement of her brother Francois\nI, when the 44 Decameron ** had been\nrecently translated into French by An-\ntoine Le Macon, who, with Rabelais,\nBonaventure Desperiers (another jovial\nteller of tales) and other kindred spi-\nrits formed the retinue of wits, poets\nand phi'osophers which Margaret liked\nto gather around her."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c039", "article_bluemountain": "bmtnaau_1928-10_01#c039", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "image_debut": 40, "image_fin": 40, "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=bmtnaau192810-01.2.17.2", "titre_corps": "THE NEW VARIORUM EDITION OF SHAKESPEARE", "titre_sommaire": "THE NEW VARIORUM EDITION OF SHAKESPEARE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "debut_caractere": 15, "fin_caractere_exclue": 1523, "texte": "THE NEW VARIORUM EDI-\nTION OF SHAKESPEARE. \"The\nTragedie of Coriolanus \" Edited by\nHorace Howard Furness Jr. A. B.\nLitt. D.J. B. Lippincoti Co. Price 30-.\nI have always treasured Furness's Va-\nriorum Edition of 44 Hamlet \",\n44 Macbeth \", 44 Lear \" and a few\nothers, and this 44 Coriolanus\" adds\nto my treasure.\nIt is a real mine of learning, for\nhere we have what almost everyone\nhas written about each passage of the\nplay, and we have it on the spot,\nthese commentaries being on the same\npage as the lines o; word referred to.\nSo that besides the scholarliness of\nthe work there is an aptness, a neat-\nness, and an immediate response to our\nappeal 44 what does this line mean ? \"\nSometimes the scholars, attempting\nto explain too much, become quite\nincoherent and lead us astray; it is\nthe clear statements of a poet which\nare the best of Coleridge ; he could\nunderstand Shakespeare very well. But\nthen he was a poet.\nAn excellent Index helps us to trace,\nif we wish to, all the passages here\nquoted from Coleridge, or to find what\nSalvini thought of the character of\n44 Coriolanus \", what he did here and\nthere, and what Winter the American\ncritic wrote of Salvini in the role.\nThe interpretations of Irving, Phelps,\nForrest, Macready, Kemble, are all\ndealt with adequately: and we are\ngiven the source of the plot in full.\nAltogether I should say it is the\nmost useful edition in existence, with\none fault;— that each volume is far\ntoo bulky, and an edition should be\nprinted on India paper without delay."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c040", "article_bluemountain": "bmtnaau_1928-10_01#c040", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "image_debut": 40, "image_fin": 40, "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=bmtnaau192810-01.2.17.3", "titre_corps": "SHAKESPEARE IN THE 18th CENTURY by David Nicol", "titre_sommaire": "SHAKESPEARE IN THE 18th CENTURY by David Nicol", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "debut_caractere": 1525, "fin_caractere_exclue": 4106, "texte": "SHAKESPEARE IN THE 18th\nCENTURY by David Nicol Smith.\nClarendon Press. Price 5/-.\nQUOTING Dryden's famous passage\non Shakespeare in his essay 4 4 Of\nDramatic Poesie \", the author of this\nlittle book tells us that 44 it contains\nin essence.... what the critics Were\nto say for the next hundred years \".\nSo that Shakespeare was fixed up for\nthe whole 18th century by a twenty\nline passage of praise more or less vague-\nly worded by the excellent Dryden.\nAmongst other things Dryden said\nthat he was sure that the wit of his\npredecessors.... 44 our predecessors\nhe writes.... 44 was not that of gen-\ntlemen \".\nIt was obviously chilly that mor-\nning when Dryden penned those words,\nand the warmth of wit was no longer\nwhat it was; the capacity to move\nwit—one's own one's mother-wit\nwas near gone. The machine is slow-\ning down.\nDryden's gent'emen were good fel-\nlows, but after all, they had to con-\nsider the French ways or there would\nbe trouble. The 44 something ill-bred\nand clownish \" that was in the Eliza-\nbethans (and which won for England\nso much) was all right for dead men,\nbut for the living a more profitable\nwit, a wit which could hold its own\nin London, suppose at the French Em-\nbassy,—not a French wit but a—well\na more gentlemanly wit.,., that is what\nwas felt Was so desirable at that mo-\nment.... 44 just now \" they say. 44 Fine\nfellows in Elizabeth's time but....\" and\nas David Nico! Smith says, 44 the rise\nof the middle-class and all that it\nmeans dates from that time \".\nDryden was an experimenter. His\n44 AH for Love \" is Shakespeare's\n44 Antony and Cleopatra \" rewritten ;\nit is 44 a triumph of craftsmanship \".\nVan Gogh experimented in this way\nwith paintings of his predecessors,—\nwith Daumier's and Millet's and Do-\nre's.\nThere seems to be no law to for-\nbid it, and why should there be ? If\nI were a producer I would rather like\nto take Shaw's 44 St Joan \" and re-do it.\nA good deal of such experiment is\ngoing on up in Russia. But one should\nat least wait until the author of the\nwork one wants to cut up has been\ndead twenty-five years.\nDavid Nicol Smith is a little stern\nwith the stage, and assures us that\n44 We shall have a lower opinion of\nthis period if we judge it by the to-\npical representations and again, 44 1\ncannot think that our successors a hun-\ndred years hence will get us quite\nright if they take some recent costly\nproduction of the London theatres as\nthe true measure of our appreciation \" :\nhe returns to this several times.\nI suppose he is right: it is a pity\nthat no more effort in the London\nTh eatre is made to prove him wrong."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c041", "article_bluemountain": "bmtnaau_1928-10_01#c041", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "image_debut": 40, "image_fin": 40, "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=bmtnaau192810-01.2.17.4", "titre_corps": "THE WORLD TO PLAY WITH by Ashley Dukes", "titre_sommaire": "THE WORLD TO PLAY WITH by Ashley Dukes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "debut_caractere": 4108, "fin_caractere_exclue": 5978, "texte": "THE WORLD TO PLAY WITH\nby Ashley Dukes. Oxford Univer-\nsity Press. Price 6/-.\n■KHMMOWMIMI « IV IWMH ■■MlltflMMMBMIMMll IIIMrmHWaMMMMMMaH\nBEGINNING with some sound good'\nseventy blank verse lines on Shake-\nspeare which are full of common\nseme, Mr. Dukes then drops into\nprose and wriles us some of the bright-\nest essays on the Theatre that have\nappeared for a long time\nMr. Dukes, like most artists, is able\nto appreciate things well, and he is elo-\nquent and logical, and he is also quite\nprovocative.\nI believe if he went slower his ar- ~\nguments might gain in strength, but\nsuch speed is in the eloquent talk that\nyou have no lime to stop him to cry\n41 Hi you ....Dukes ....hold on there\nsay it again slowly ! \". Besides, that\nwould perhaps be like asking the con-\njurer to do his trick slowly. With\nthis excellent if dangerous gift he may -\ncare to do but little more than he\ndoes : he may prefer to develop gifts\nwhich he does not even possess, and\nthen he will do as most of us do, he\nwill attempt to play \" Hamlet \" when\nborn to be the greatest \" Osric \" ever\nseen upon the stage.\nOne of the mam faults of our Eng- \"\nlish Theatre, in fact of all our English\nactivities, is that everyone is in his\nwrong position ; not trying to fill too\nsmall a role or too large a one, but\nto fill one for which he is not very well\nadapted.\nWe have the good Butt of Drury .\nLane : the role he should fill is that\nof plain unadvertised advertising ag:nt\nto a good Theatre—no more. He is\na minor talent. Instead he would swell\nup to seem like a Kemble and is slightly\nridiculous.\nCochran, too, is quite out of his\nright place, ....and now we hear that\nLord Birkenhead, after proving his\npowers as a unique statesman, has\ngone into business.\nReally, it is not a little stupid to\nalio w this sort of thing.\nThe Button-moulders rule empire\nand the men of genius make and sell\nbuttons."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c042", "article_bluemountain": "bmtnaau_1928-10_01#c042", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "175", "image_debut": 40, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.5", "titre_corps": "THE ARTISTS OF THE 1890's by John Rothenstein", "titre_sommaire": "THE ARTISTS OF THE 1890's by John Rothenstein", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "debut_caractere": 5980, "fin_caractere_exclue": 6288, "texte": "THE ARTISTS OF THE 1890's\nty John Rothenstcin. Routledge &\nSons. Price 10/6. Illustrated.\nTHIS book has given me a good\ndeal of pleasure; not only be-\ncause it is so ably done and charming-\nly written, but because it tells me of\nmen I regret not to have known, and\nof others of whom I am glad to *\nknow more."}, {"page_pdf": 41, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4272, "texte": "Some of the anecdotes and the\nsayings of Wilde, of Legros, will be\nquite new to the Public, and they are\nfresh and excellent because preserved\nfor us so carefully by William Ro-\nthenstein, the father of the author of\nthis book.\n44 Conder is wonderful, my dear\nWill, he takes you aside and persuades\nyou with that irresistible acumen which\nis the peculiarity of poets, to buy a\nfan for five pounds for which you were\nperfectly prepared to pay twenty\".\nWilde saying this is excellent, and\nthe words have been faithfully repor-\nted. What cannot be recorded is\nWilliam Rothenstein's manner of repeat-\ning it.\nSurely few men of this age enjoyed\nmore or better than William Rothenstein;\nand this intense enjoyment all flooded\nwith the most innocent laughter, the\nmost glowing appreciation of a jest,\nthe most tender affection for who ever\nmay have uttered it, was a thing no\none will ever be able to describe ; or\nthe aspect of Rothenstein when telling\nsuch things and adding to them with\ngusto.\nHe had and has all sorts of sides,\ngrave, witty; but the exuberant side\nwas and is a joy to all who know him.\nAnd so perhaps the most interes-\nting chapter in this volume is the one\nwritten on him by his son. The least\ninteresting to my . mind deals with\nMax Beerbohm.\nI suppose to some people all these\nartists of the IB9o's seem to have\nlived ages ago. Some shall even sup-\npose them dead, some living never\nheard of them. And I dare say that\nthere is only one of them whose work\nwill in the faintest degree give to\nothers who wish to know that parti-\ncular artist some glimpse of the man\nhimself. And that seems to be im-\nportant and so very nice. What else\nis nicer or more important ?\nAnd that one is Max Beerbohm.\nAnd yet, although I say this, there is\nnobody a hundred years from now\nwho will know the man sufficiently\nfrom his works to be able to say in\ntruth that he knows him. Flow ter-\nrible ! And here have 1 been all my\nlife imagining that I knew Flaubert,\nthat I knew William Blake, oh very\nwell; Van Gogh, and even men who\nlived as far ago as Callot and old\nFerdinando Bibiena I And here again\nis sufficient reason for sudden death,\na happy release from all the terrors\nof life. Alive, you hardly know your-\nself ; dead, and I'm damned if a soul\nwill know you. And if it were not\nfor the fact that this is a delicious\nthought, it would he really very ter-\nrible. It is delicious in the sense that\na great adventure is delicious.\nWho knows of anyone's great ad-\nventures ? Putting aside Robinson\nCrusoe's made-up affair, no one knows\nwhat it is makes them so wonderful,\nand Beerbohm must feel this delight,\nnot of being unknown* but forever re-\nmaining unknown.\nSo when Mr. John Rothenstein, fol-\nlowing an excellent tradition that has\nbrought forth innumerable volumes for us,\nwhen this young critic adds one more\nvolume, to the existent efforts to explain\nwhat cannot even be apprehended, it\nshows that life is merely to-day as it ever\nwas, and as foolhardy. And all I would\nsay here is that the reader must not\nsuppose that he gets at any of these\nartists of the nineties. Books like this\none are all pleasant small talk, and\nwhen the talk is between Ricketts £nd\nWilde, Whistler and the others, then\nit is entertaining small talk. And in\nth s book there are quite a number of\nnew anecdotes, scraps of conversation\nwhich are not to be found in other\nbooks which deal with the same ce-\nlebrated figures.\nEspecially interesting is the Ricketts\nand Shannon chapter. There are\nsome good illustrations, and one by\nWalter Greaves seems to me to be\nthe most 44 advanced\" thing in the\nbook. It seems like one of the paint-\nings of the futurists, and it would\nhave been nice to have reproduced it\nin colour.\nPerhaps Mr. John Rothenstein will\nwrite a whole book about Greaves,\nthe Greaves no one knew and no one\ncan know, and give us twenty or thirty\nof his designs in colour.\nAnd I like Mr. John Rothenstein's\ntalent for keeping the ball rolling ; it\nis really excellent. When he has no-\nthing to say he can still go on and\nhold us as he tells us what\nthe modern mind was doing at the\nend of the 18th century and what\nOswald Spengler says, and why there\nwas a revolt against classicism and ail\nthe rest of it.\nI am unconvinced, but I am rather\nproud of Mr. John Rothenstein."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c043", "article_bluemountain": "bmtnaau_1928-10_01#c043", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "175", "image_debut": 41, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.6", "titre_corps": "THE THREE COUSINS by Geoffrey Moss", "titre_sommaire": "THE THREE COUSINS by Geoffrey Moss", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.41", "debut_caractere": 4274, "fin_caractere_exclue": 4774, "texte": "THE THREE COUSINS by Geof-\nfrey Moss. Hutchinson & Co. Price 7/6.\nDESCRIBED as 44 a collection of\nsparkling stories \", these fourteen\ntales would sustain any young author's\nreputation, being varied, entertaining\nand original ; but sparkling is the wrong\nadjective to use.\nNot dull like the most popular of\nshort story telle* s, he is rot as remark-\nable as Conrad, for example.\nHe holds a place somewhere be-\ntween these two, which is, after all, not\nso mean a place and Mr. Moss can\nstill do better."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c044", "article_bluemountain": "bmtnaau_1928-10_01#c044", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "177", "image_debut": 41, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.7", "titre_corps": "MEMOIRS OF MADAME DE POMPADOUR by Mme du HaussetMEMOIRS OF MADAM DU BARRI by herself", "titre_sommaire": "MEMOIRS OF MADAME DE POMPADOUR by Mme du HaussetMEMOIRS OF MADAM DU BARRI by herself", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.41", "debut_caractere": 4776, "fin_caractere_exclue": 6801, "texte": "MEMOIRS OF MADAME DE\nPOMPADOUR by Mme du Hausset\nher Waiting- Woman. Roulledge. Price\n10 6 net.\nMEMOIRS OF MADAME DU\nBARRI by herself. Cassell. Price\n10/6 net.\nTHESE memoirs of the two conspi-\ncuous ladies who in turn appealed to\nthe fancy of Louis XV, issuing from\nthe two different publishing houses,\ncome aptly together by the same post.\nTo take the senior, and greater\nlady first. Her Memoirs, translated,\nwith an Introduction, by F. S. Flint,\nhave come down to us by the merest\nchance, having been saved from bur-\nning by the intervention of M. S£-\nnac de Meilhan, a friend of her bro-\nther the Marquis de Marigny, 44 Find-\n-44 ing the Marquis one day burning\n4: papers, de Meilhan saw him pick\n\" up a large packet, about to throw\n44 it on the fire, with the words, 44 It\n44 is the diary of my sister's waiting-\n-44 woman. She was a very worthy\n44 creature ; but her diary is all twad-\n-44 ale. To the fire with it\n44 He stopped. 44 Do you not think \",\n44 he continued, that 1 am like the cur£\n44 and the barber in Don Quixote,\n44 when they burnt the romances of\n44 chivalry ?\n44 i will ask you to spare this one \"\n44 said Senac de Meilhan. 44 I like\n41 anecdotes, and I shall no doubt find\n44 something to interest me \\\n44 I am quite willing \" replied M.\n44 d? Marigny, and he handed the\n44 packet to him \" : . ..and so we to-\nday can read, in this English ver-\nsion so excellently printed by Messrs\nRoulledge in their admirable 44 Broad-\nway Library of XVIII Century French\nLiterature the amazing story, per-\nhaps 44 all twaddle cf Jeanne-An-\ntoinette, who, daughter of Francois\nPoisson the weaver, became virtual\nQueen of Fran.ce, as it passed before\nthe observant or curious eyes of her\nwaiting-woman Mme. du Hausset.\nIt is the tale of a dazzling career ;\nthat of a woman of the lower bour-\ngeoisie who fascinated Louis XV, and\nfor whose caprices the greatest figures\nof the court were subject at any time\nto public humiliation, as when the\nDue de Richelieu nearly went to the\nBastille for the fourth time because he"}, {"page_pdf": 42, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 7302, "texte": "%\nattempted to thwart her over her thea-\ntre. Voltaire also, the 44 first benefi-\nciary of Madame de Pompadour's in-\nfluence ' so soon as the King's patent\nhad raised her from the humble estate\nof Madame d'Etioles, was to owe\nhis dismissal to her, following upon\nsome indiscreet verses: the Court, pre-\npared to mock, was obliged, outwardly\nat least, to be respectful and order\nitselr lowly and reverently to the new\nand brilliant star in the royal firma-\nment : and the Duchess, having attain-\ned her position, knew well hew to\nmaintain it.\nLou's XV was, we are told, all\nhis life 44 pursued by an implacable\nboredom '', and she held him by her\ncapacity to keep him amused. 44 When\n44 the charms of her physical attrac-\n-44 tions began to wane, she invented\n4t her theatre, Le Theatre des Petils\n•4 Appartemens on which she dis-\n-44 played her graces and talents as an\n44 actress, singer and dancer \". The\nKing was, we read, proud of his ac-\ncomplished mistress. 14 1 he theatre cost\n44 a lot of money; but it achieved\n4 Madame de Pompadour's purpose\n44 so well that when, somewhere about\n44 1752, all intimate relations had\n44 ceased between them\" says this twad-\ndle, 44 she became the King's indis-\n-44 pensable friend, confidante, adviser,\n44 and assistant in the business of\n44 State \" : ....which shows that a\nTheatre sometimes may have a use\nthat one had never thought of before.\nOne of the illustrations in the book\nshows a 44 Performance of A as et\nGalciee by Madame de Pompadour's\nCompany from a Wash drawing by\nCochin, \" and, in Appendix A., there\nis an interesting fourteen-page Histori-\ncal Note on *4 The Performances in\nthe Little Galleries of Louis XV\ntranslated from the account by Loujon.\nWhen Madame de Pompadour had\nmet death, dressed in full Court cos-\ntume, in 1764, after being the 44 un-\ncrowned queen of France \" for twenty\nyears, His Most Christian Majesty\nLouis XV was in grave danger of\nfalling into a disastrous boredom. For,\nalthough the Marquise had for ten\nyears or more been but 44 indispens-\nable friend, confidante, adviser\", her\ncharming finger had been in every po-\nlitical and domestic pie ; by her intel-\nligence and skill she had 44 maintained\nherself in the favour of a monarch as\nfickle as he was ruthless \", this being the\naccepted notion of Louis XV, and\none being reconsidered to-day. When\nher own charms had ceased to at-\ntract \" she 44 had instituted the Parc-\naux-Cerfs, and kept it replenished with\ngirls of fitting comeliness \". Now\nLouis, already fifty-four, found himself\nsuddenly, as one may say, at a loose\nend, if so colloquial an expression may\nbe applied to so imposing a personage.\nHe had, thanks to Madame de Pom-\npadour, efficient ministers, so that po-\nlitically he should not miss her too\nmuch ; and Lebe!, 44 h)s discreet and\nassiduous valet did what he could\nto provide other, attractions and 44 a\nconstant variety of beauty \" : but the\nking, says twaddle, missed 44 the men-\ntal stimulant of some clever or impu-\ndent woman as his constant compa-\nnion , and at this propitious moment,\nin 1769, Lebel, probably harrassed\nby his responsabilities, had the good\nfortune to introduce to his royal mas-\nter the beautiful Madame du Barri,\n... and the trick was done. 44 From\nthat day until his death, five years\nlater, Louis was, we are told, a mere\ninsiiument in her hands, to be wielded\naccording to the schemes of the men\nwho had put her in power \".\nMadame du Barri was also of no\nvery exalted birth. The best even\nshe herself can find to say of her fa-\nther's family is that it was 44 by no\nmeans despicable \", that it 4* came\nfrom very good citizens and even of\npetty nobility but 44 My father, ha-\nving no fortune, had been compelled\nto accept a mean situation as a clerk\nat the Barrieres \", ....was, in fact, a\nCustoms-house clerk. Still Marie-Jeanne\nwas endowed with beauty, a beauty\non which, after the father had died\nleaving his family penniless, her mo-\nther and she staked all their hopes.\nPlaced in a boarding-school at the\nexpense of her rich god-father, she\nwas in her sixteenth year apprenticed\nto a milliner and was 44 almost eman-\ncipated, almost free \"•\nOn the second Sunday of her new\nexistence she went to visit a school-\nfriend : the family took her for a walk\non the boulevards 44 and after the walk\n44 we went to the theatre. It was the\n44 first time such a pleasure had been\n44 presented to me; it so completely\n44 laid hold of my mind and imagina-\n-44 tion that I almost forgot the pre-\n-44 sence of the brother of Genevieve.\n44 Seated by my side, he was only\n44 thinking how he should express his\n44 love for me \", and from that day\n44 The image of Genevieve's brother\npursued me sleeping or waking \". This\nwas the beginning, the 44 first love of\nthe King's future mistress After this\ncame the dashing Comte d'Aubuisson,\n44 who, himself alone, made more noise\n44 than a whole regiment. His inso-\n-44 lence, which I took for grandeur,\n44 had a prodigious effect upon me.\n44 He came to order the prompt com-\n-44 pletion of a hat for the Duchess de\n44 Viileroißrother Nicholas, with\nhis proposals of honourable marriage,'\nW£S soon forsaken. 44 Had 1 listened\n44 to my heart, it would have guided\n44 me wisely, but I abandoned myself\n44 to my vanity, and my vanity des-\n-44 troyed me After that came a\n44 young Biscayan \", 44 He was the\nthird ! \" : but the list of all the con-\nquests previous and subsequent to the\ngreat conquest is far too long, and\nmust be read in these confessions of\nMadame du Barri herself, through\nwhich we get vivid glimpses respec-\nting half the notabilities of the times.\nMadame du Barn\", like Madame de\nPompadour, had her taste for the\ntheatre : and the sisters Verri&re, who\n44 bore the sceptre of the highest gal-\nlantry\", Mile Guimard, and other figures\nof the stage pass across these pages, in\nthe midst of all kinds of details of intrigue\nand scandal; while some interesting details\nare given of Madame du Barri's own\ntheatricals and the later performances\nof ihe Petit Tiianon, relating to one\nof which the following anecdote is re-\nlated :\n44 At one of these representations,\n44 and just at the moment when the\n44 queen (O.had concluded a little song,\n44 a loud hiss was heard. Pier majesty,\n44 fully sensible of there being but one\n44 person in the company who would\n44 presume to venture such a mark of\n44 disapprobation, advanced to the front\n44 of the theatre, and, addressing the\n44 king, said, with a low curtsy, 44 Sir,\n44 if my performance does not meet\n44 with your approbation, have the\n44 kindness to retire. You will have\n44 your money returned you at the\n44 door.\nThis speech 44 was loudly applau-\n-44 ded, and the king, while asking\n44 pardon for his offence, protested\n44 l hat he had committed it mere-\n-44 ly for the sake of mischief, and\n44 by no means from ill-nature \". How*\n44 ever \", adds the Duchess, 44 it\n44 was universally admitted that Marie\n44 Antoinette's acting fell far below\nmediocrity, and might well have\n4; justified the disapproval of her con-\n-44 sort. The royal corps was soon\nweary of playing to so scanty an\naudience, and longed for a few\nadmiring friends to witness their exer- \"\ntions. Accordingly, a select number\n44 of courtiers was admitted, to the\nextreme envy aud jealousy of such\nas were excluded. One of the mal-\n\n(i) Marie Antoinette."}, {"page_pdf": 43, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 1640, "texte": "4i contents -said, in my hearing, 44 Her\n\" majesty seems over-fond of playing\n44 comedy; perhaps, ere long, she will\n*4 favour us with a tragedy \".\nWell, there was tragedy enough\nawaiting them all, actors and audience,\nand, if Marie Antoinette played her\npart on the theatre-stage poorly, she\nplayed it courageously enough in that\n>last tragic act on the Place de la Re-\nvolution ; whereas Madame du Barri,\ncondemned to death, 4i With an over-\n-44 whelming, passionate desire to live ,\nno matter at what cost, began a se-\nries of 44 revelations compromising every\n,$4 one whose life, she hoped, might be la-\n-444 ken in exchange for her own \" ; so that\n114 more than one innocent went to the\nVguillctine on the strength of her words * ,\nwhile she herself was borne to the\nscaffold in such crazy terror, so 44 de-\nmented with anguish \" that those ac-\ncustomed to the composure of the\naristocrats -before a like ordeal were\namazed.\nThe Memoirs from which this book\nis taken appeared, says the editor, in\n1829, under the nominal editorship of\nLamothe-Langnon. Though 44 written\n44 as autobiography, it would, perhaps,\n4 44 be belter to say that in those Memoirs\n* 44 the editor collected the many remi®\n* 14 niscences then current of Madame du\n1 44 Barri and welded them into connected\n'44 narrative. The facts related are indis-\n* * putably true, and their presentation\n44 through the medium cf her personality,\na personality, which pervades the whole\n444 book, throws a light of its own\n'S4 upon that strange and tragic period\n44 immediately preceding the French\n44 Revolution \".\niHowever they came into being, they\n* are certainly readable."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c045", "article_bluemountain": "bmtnaau_1928-10_01#c045", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.8", "titre_corps": "LAZARUS LAUGHED. Eugene O'Neill", "titre_sommaire": "LAZARUS LAUGHED. Eugene O'Neill", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.43", "debut_caractere": 1642, "fin_caractere_exclue": 6318, "texte": "LAZARUS LAUGHED. Engine\ni O'Neill. Boni and Lioeright, 1927.\n! Price $ 2,50.\nif\"\" Lazarus : (His voice is heard in a\n□J gentle, expiring sigh of compassion,\nfollowed by a faint dying note of\nlaughter that rises and is lost in the\nsky Hke the flight of his soul back\n. into the womb of Infiniiy).\n44 Fear not, Caligula I There is no\n- death ! \"\nWell, we should call this devilish\nhighbrow in England, and in Italy we\nshould call it precisely highbrow, and\nin France they would call it a lot\nmore. And what would they say in\nv Germany ? I think they would rather\nlike it, but I also think that the prin-\nting of a play is a most unfair pro-\n- ceeding, because it has to come be-\nfore ordinary men with a sense of\nluimour and other common senses, and\nwhen they read this,—\nHa-ha-ha-ha ! Ha-ha-ha-ha !\nLet us die, Lazarus !\nMercy, Laughing One I\nMercy of death !\nHa-ha-ha-ha ! Ha-ha ha-ha I\nNo, it simply won't wash, they are\nin no laughing mood, and although I\nam pretty positive that O' Neill is not\na man with a great sense cf humour,\nyet with a lot of practicability in his\nnature, with the sense of a theatre\nman and a really most able being, in\nthe piece I have quoted there is so\nmuch insincerity and so much twaddle,\nthat i am forced to believe that it is\nnot O* Neill's fault but the fault of\nthis beastly fjrint, and the habit of\nprinting plays which should be heard\nand seen and never read. But I fancy\n44 The Mask \" has said this for some-\nthing like twenty years, and of course\n44 The Mask \" is wrong. Because forty\nout of eighty of the pages of Macbeth\ncan be read, and the whole thing blaze\nlike anything and s ldom is there any\nsound of insincerity. And the same\ncan be said of forty of the pages of\nKtng Lear, and of course other plays.\nBut even to have found two which\nprove tone wrong about one s sweep-\ning theory is a comfort. The only\ncurse is when these Lazarus plays\nprove you right.\nThis play of O' s is much\ntoo full of stage directions. For\nexample,— believe me, ;I open entirely\nat random :\nPompeia walks to the dais which\nshe ascends slowly until she stands by\nCaesar*s couch, beside himy confron-\nting Lazarus.\nThe stage directions continue -for\nanother six lines and end up :\nPompeia leans over and takes a\npeach from the bowl of fruit on Cae-\nsar s table, and taking Tiberius hand\nin the other, she fusses it, and calls\ninsistingly ;\n44 Caesar, it is I, Pompeia ' .\nNow, when you have to tell actors\nthat there have to be peaches, and\nnot pears, in a bowl on a table and\nthis chief actress has to walk slowly\nto a dais, and that she has to stand\nbehind, and not at the side of Cae-\nsar, things are getting very impracti-\ncable. Suppose in 44 King Lear '\nhad some such strange and useless\nstage direction. I ake for instance Cor-\ndelia's line : 44 And so I am , You\nall remember it. Good ! Now let us\nre-write the stage direction :\nLeaf...* Bellevfi trr»s lady to be my\ndaughter \".\nCordelia (walking to the dais, up\nto which she trips with rapidity, and\nstands behind Lear's couch, Lear con-\ntinues to stare into space. His whole\nbeing relaxing, a dreary Smile softens\nhis hard mouth. Cordelia runs over,\ntaking a whisp of hawthorne from a\nbowl on the right of Lear, and stro-\nking the white hair of her father with\nthe bough, kisses his forehead, coos\ninto his ear:) \" And so 1 am\nNow doesn't this spoil the whole\nthing ? And it it can spoil Shake-\nspeare, how easy it is then to spoil\nO Neil!. But fifteen lines of stage di-\nrection is nothing to O'Neill. There is\none of his which counts up to about\nthirty-two. Between almost every speech\nis a stage direction. Mary is to say\n\" hysterically the father is to say\n\" frenziedly\", the mother is to say\n44 fanatically \" or \" tearfully Mary\nis to speak 44 defiantly \". Now there\nare at least seventy shades of defiance\nper person, one hundred shades of\nhysteria and of frenzy, and therefore\nit is making it so easy for the actor\nwhen he is told as here that all he\nhas to do is to be frenzied or de-\nfiant in one and the same old way\nthe one and only way according to\nthis author.\nIf there are going to be long stage\ndirections I like them to be all of a\nmore subtly discriminating nature than\nthis. Let the author look into the whole\npast life of Mary and the father and\nthe mother. Let us hear what kind\nof voice Mary actually had. How it\nwas affected by a feeling of defiance\non Mondgy, Tuesday, and so on. What\nsort of thing made her snap or snarl her\nwords. What made her coldly de-\nfiant, frantically defiant, and sincerely\ndefiant and so on. But that would mean\nlong discussions of Mary and her ways,\nher life, and even then 1 doubt if we\nwould get it. Surely the great actor\nis needed at last."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c046", "article_bluemountain": "bmtnaau_1928-10_01#c046", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "178", "image_debut": 43, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.9", "titre_corps": "STAGE DECORATION by Sheldon Cheney", "titre_sommaire": "STAGE DECORATION by Sheldon Cheney", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.43", "debut_caractere": 6320, "fin_caractere_exclue": 6753, "texte": "STAGE DECORATION by Shel-\ndon Cheney. Chapman & Hall.\nPrice two guineas net.\nMR. Cheney's review of Modern\nDecors was already reviewed,\nin its American edition, in the April-\nJune number of 44 Ihe Mask\", and,\nsave for repeating that Mr. Cheney\nis one of the ten or fifleen men who\nfor the last twelve years have been\nclosely observing what is going on in\nthe 1 heatfe? of Europe and America,\nwe refer cur readers back to that\nreview."}, {"page_pdf": 44, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 594, "texte": "It is a book which, in the swiftness\nand simplicity with which it surveys\nthe work of the New Movement, and\nglances over the Historical background\nof that Movement, should be within\neasy reach of the student and worker\nof the Theatre today : and those who\nmade its American publication a pre-\ntext for finding it difficult of access,\nhave no further excuse now that\nMessrs Chapman and Hall have is-\nsued it in their very midst.\nIt contains 127 illustrations, inclu-\nding reproductions of works by Adolphe\nAppia and Craig.\nII nil— !■■!! !■■■■ IB— 111 I 111 H II ll—l W—i— ll —— ■ ■■■ I ■! 1 ■ II"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c047", "article_bluemountain": "bmtnaau_1928-10_01#c047", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.10", "titre_corps": "LETTERS FROM JOSEPH CONRAD", "titre_sommaire": "LETTERS FROM JOSEPH CONRAD", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.44", "debut_caractere": 596, "fin_caractere_exclue": 4709, "texte": "LETTERS FROM JOSEPH CON-\nRAD. / 895- / 924, Edited by Edward\nGarnett. Bobbs Merrill Company.\nU. S. A.\n\" YY/HAT is life worth if one can-\nW not jabber to one's heart's\ncontent ? These may sound unlike-\nly words to proceed from the iro-\nnic, often sardonic, author of 44 Lord\nJim \" and \" The Secret Agent ne-\nvertheless they are Conrad's own words,\nand addressed to his friend Edward\nGarnelt, recipient of this long series\nof letters which Mr. Garnelt now\nedits and makes public.\nThey show a curious dependence\nupon, as well as a keen affection for the\nman who first, as reader to Mr. Fis-\nher Unwin, recommended \"Almayer's\nFolly \" for publication and, in their\nfrankness, their wholly unguarded na-\nture, pay a tribute to the trusted cha-\nracter. of the friend to whom they\nWere addressed as well as throwing\nmuch interesting light upon the mind\nand fortunes of the one. who wrote\nthem.\nThey reveal how fierce was the\nstruggle for existence of this writer\nwho would not, no matter how despe-\nrately pressed for money, write less\nthan his best. He works under deadly\nfinancial pressure, hedged in by all\nthe domestic worries which lack of\nmoney can bring in their train, but he\nworks on ; and to this intimate friend\nwhom he regarded as his 44 father in\nletters\" he poured himself out through\nalmost thirty years, in letters which,\nas Mr. Garnett says in his sympathe-\ntic introduction, reveal marvellously\nConrad's personality, his buoyant tem-\nperament and resilient moods, his un-\ncanny insight, his skeptical faith and\nphilosophical irony, his charming frank-\nness and great affectionateness, his flash-\ning wit, his humor, often playful,\noften fiercely sardonic \".\nIt anyone still doubt© how hard the\nconsciencious artist's life can be, they\nmay inform themselves convincingly\nenough from these pages: may see\nhow the artist, far from conceiving in\njoy and bringing forth in peace may\nconceive in agony and bring forth in\ndesperation, ...and with every atten-\ndant harassment that can render his\nordeal more severe.\nOn page after page we find such\nsentences as: 44 Am used to hard-\nships and privations of all kinds \" : \" I\nhave had a lot of worries. A man 1\nlove much had been very unfortunate in\naffairs \" and 44 I also lose pretty well\nall that remained Writing about\n44 the ghastly Rescue \", he says:\n** Your commendation of part one plun-\n-44 ges me simply into despair—because\n44 part two must be very different in\n44 theme if not in treatment and I am\n44 afraid this wiil make the book a\n44 strange and repulsive hybrid, fit only\n44 to be stoned, jumped upon, defiled\n44 and then held up to ridicule as a\n44 proof of my ineptitude \" :... 44 I am\n44 in desperation and I have practically\n44 given up the b00k.... I am para-\n-44 lyzed by doubt and have just sense\n44 enough to feel the agony but am\n44 powerless to invent away out of\n44 it \". and so on and so on, interspersed\namong all kinds of interesting details\nof the production and progress of his\nbooks, the negotiations with publishers,\nthe little sums secured as an advance\non royalties to keep the pot boiling :\nand comments on contemporary books\nand writers, and personal news.\nMr. Garnettr, referring to Conrad's\nslow progress in increasing his circle of\nreaders, says that 44 Nineteen years\nof arduous work (1895-1913) failed\nto bring him into real prosperity\nIn 1896 44 He was so depressed by\nhis position that he explained to me\nhis hopes of getting a command at\n•*\nsea «...\nBut in his last years some measure\nof success came to him, and 44 When\nworldly success came at last to Conrad\nit increased his desire to refer to the\nold days and to remind one of any\noffices done him in the early years\nof authorship \".\nIf that be so, Conrad would have\nbeen glad that these letters should be\nmade public, since they are a long re-\ncord of 44 offices done him \" in those\nhard times ; but Mr. Garnett is proba-\nbly the last man to be aware what a\ntribute to himself are these Letters\nwhich he has edited :... or to what\nextent, if they reveal the character of\nthe writer, they also reveal that of the\nman who was his faithful friend for\nthirty years."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c048", "article_bluemountain": "bmtnaau_1928-10_01#c048", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "179", "image_debut": 44, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.11", "titre_corps": "A HISTORY OF GARDEN ART by Marie Luise Gothein", "titre_sommaire": "A HISTORY OF GARDEN ART by Marie Luise Gothein", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.44", "debut_caractere": 4711, "fin_caractere_exclue": 7093, "texte": "A HISTORY OF GARDEN ART\nby Marie Luise Gothein, Edited by\nWalter Wright, Translated from the\nGerman by Laura Archer-Hind. Two\nVols. /. M. Dent & Sons. Price\n84j- net.\nTHIS a work which delights at the\nfirst perusal, and will, I am certain,\ndelight all who possess it for years-\nto come ; for it is on one of the most\nentrancing subjects in the world, the\nGarden, and.it treats of this in the.\nmost comprehensive and satisfying way.\nThe Edilor has reason to say it\nis 44 a work of supreme ability\nthat it presents 44 a panorama begin-\nning in that dim past in which his-\ntory itself took birth, and extending\nthrough ages crowded with vital events\nand heroic figures \", and that it 44 is\n44 at once significant and enthralling to\n44 realize how closely gardening has\n44 been interwoven with those decisive\noccurrences and those momentous\n44 personalities which have affected hu-\n-46 man destinies the most profoundly \".\nIt is a work which takes its place as;\na Garden classic, covering the whole\nground from Ancient Egypt, Wes-\ntern Asia in ancient times, ancient:\nGreece, the Roman Empire, the By-\nzantine Gardens and the Countries of*\nIslam down to the [gardens of the?\nMiddle Ages in the West, and off\nItaly, Spain, Portugal, France, Eng~-\nland, Germany and the Netherlands,\nin the time of the Renaissance. Long\nchapters are devoted to the Time of\nLouis XIV ; to the brencb Garden in\nEuropean Countries; to China and\nJapan; to the English Landscape Gar-\nden, the Tendencies of Garden Art\nin the Nineteenth Century, Modern\nEnglish Gardening, and Landscape\nArchitecture in the United States and\nCanada. There is a detailed table\nor Contents, an excellent alphabetical\nIndex, and 688 enchanting illustrations, .\ngiving views of gardens and garden *\nplans of all ages and all lands.\nMadame Gothein dates her Preface •\nto the first edition in 1913 from Hei-\ndelberg ; her preface to the second\nedition in 1925 fiom Banjoemas, Java, .\nand tells us that it was in 1904, at\na meeting of the New Philological\nSociety at Cologne, in an address on -\nthe Origin of English Landscape Gar- -\ndemng, that she offered 44 the first\nfruits of those studies out of which -\nthis book has grown\": and she is\nright in thinking that this work of\nheis 44 should appeal to readers of\nmany sorts ; to the archeologist, to the *\nhistorian of art, to the historian, in- *\ncieed of any kind of civilization \"."}, {"page_pdf": 45, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 778, "texte": "We, in 14 The Mask \", naturally\nscan every book first for its relation\nto the Theatre, and we wish Madame\nGothein had found it possible to give\nus more details,... such as in her wide\nand profound study she must certainly\nhave accumulated.... respecting the\ngarden Theatres of the world. Some-\nthing she does tell us, as in the\npage or two devoted to Philip Il's\ntheatre at Buen Retiro : but the ma-\nterial is so abundant ; and Madame\nGothein must know so well where to\nlay her hands on any she has not al-\nready amassed, that we trust she may\npresently give us a book devoted\nwholly to Garden Theatres, ....the\ntheatres of Italy and Spain and Vienna\nand France and England, and the ar-\ntists who produced the plays, and the\nactors who played on those sunlit or\nmoon-lit stages."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c049", "article_bluemountain": "bmtnaau_1928-10_01#c049", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.12", "titre_corps": "PUNCH AND JUDY", "titre_sommaire": "PUNCH AND JUDY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.45", "debut_caractere": 780, "fin_caractere_exclue": 4691, "texte": "PUNCH AND JUDY, With an in-\ntroduction by Charles Hall Grandgent\nand illustrations by Ceorge Cruik-\nshank, George Allen & Unwin. Price\n3/6 net.\nTHIS is a welcome appearance in a\nnew edition of an old friend\nheretofore not easily met with save\namong the ranks of old and second-\nhand hooks.\nUpon an early fly-leaf is inscri-\nbed \" First printed in Great Britain\n1928 \" by which presumably Messrs\nAllen and Unwin intend to announce\nthat this is the first time an edition\nissues from their House : for the first\nedition appeared in 1828 44 with twenty-\nfour illustrations designed and engra-\nved by George Cruikshank, accompa-\nnied by the dialogue of th? puppet-\nshow \" in London, 44 printed for Sep-\n* timus Prowett, 55, Pall Mai!, Bvo \",\nand a third edition 44 printed for Tegg\nin 1844\": and a fifth edition 44 pub-\nlished by Bell and Daldy, in 1870,\nthe plate?, coloured and printed sepa-\nrately, signed G. Ck. \": while a Ger-\nman edition, with the cuts printed in\nsepia, was published at Stuttgart in\n1865. A copy—first-proof etchings\ncomplete, sold at George Cruikshank's\nlibrary sale, 1868, for £ 17.\nThe above dates are given in the\nLife of George Cruikshank (0 by Blan-\nchard Jerrold, who remarks, relative,\nto the 44 Punch and Judy \" designs, on\n44 the power of Cruikshank to inform,\na puppet with life, and keep it wood-\nen still and who gives an interes-\nting passage in which Cruikshank him-\nself relates his entry upon and accom-\nplishment of this particular piece of\nwork :\nHaving been engaged by Mr.\nProwett, the publisher, to give the\nVarious scenes represented in the street\nperformances of \" Punch and Judy 99,\n1 obtained the address of the pro-\nprietor and performer of that popular\nExhibition.\nHe Was an elderly Italian of the\nname of Piccini, whom I remembered\nfrom boyhood, and he lived at a low\npublic-house, the sign of The ' Kings\nArms 9 in the ' Coal Yard \\ Drury\nLane.\nHaving made arrangements for a\n' morning performance' one of the\nwindow frames on the first-floor of\nthe public-house was taken out, and\nthe stand, or PuncKs theatre, was\nhauled into the ' club-room *.\nMr. Payne Collier (who Was to\nwrite the description), the publisher,\nand myself formed the audience;\nand as the performance went on, I\nstopped it at the most interesting\nparts, to sketch the figures, whilst\nMr. Collier noted down the dialogue,\nand thus the whole is a faithful copy\nand description of the various scenes\nrepresented by this Italian, whose\nperformance of 4 Punch ' was far su-\nperior in every respect to anything of\nthe sort to be seen at the present day.\nThe figure whose neck he used to\nstretch to such a great height was a\nsort of interlude.\nPiccini made the figure take off\nhis hat with one hand, which he de-\nfied all other puppet-show performers\nto do.\nPiccini announced the approach of\nPunch by sound of trumpet *\\\n<1 It was only after referring to this\nextract in Blanchard Jerrold's \"Life\"\nthat I discovered it reprinted at the\nend of this new edition, and suggest\nthat, in the next edition, it might be\nhelpfully placed at the beginning, im-\nmediately after the Preface, in which,\nin his brief three and a half pages\nMr* Grandgent finds place to say se-\nveral serious things; as, for example,\nin his closing words: \"now we begin\nto understand why Mr. Punch is so\npopular with us all, and why he ap-\npeals, most irresistibly to the young.\nIt is because we see in him the fulfil-\nment of our repressed desires. He is\nthe Spirit of Revolt. Mr. Punch is\nnot only the Hero—he is also the\ntypical Superman, the supreme Self-\nExpressionist \".\nBut why is Mr. Payne Collier's\nname omitted from the title page\n. ..which bears the names of Mr.\nGrandgent and George Cruikshank\n0n1y..,, considering how important a\npart he played in this record of \" The\nTragical Comedy or Comical Tragedy\nof Punch and Judy \" }\n(1) The Life of Geo ge Cruikshank\nby Blanchard Jerrold. 2 vols, illus:\nChatto & \\Vindus 1882."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c050", "article_bluemountain": "bmtnaau_1928-10_01#c050", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "180", "image_debut": 45, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.13", "titre_corps": "LE THEATRE, LE CIRQUE, LE MUSIC-HALL ET LES PEINTRES DU XVIII SIECLE A NOS JOURS. Preface de Camille Mauclair", "titre_sommaire": "LE THEATRE, LE CIRQUE, LE MUSIC-HALL ET LES PEINTRES DU XVIII SIECLE A NOS JOURS. Preface de Camille Mauclair", "signature_source": "p. b", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.45", "debut_caractere": 4693, "fin_caractere_exclue": 6726, "texte": "LE THEATRE, LE CIRQUE, LE\nMUSIC-HALL ET LES PEINTRES\nDU XVIII SIECLE A NOS\nJOURS. Preface de Camille Mauclair.\nFlammarion, Paris, Price 70\nfrancs.\n\nEXCELLENT M. Mauclair has gi-\n-1 ven us barely fifteen pages of\nPreface and that was clever of him. He\nmerely mentions by names the pain-\nters, designers for the stage, the dancers,\nactresses, singers, and not by any\nmeans all of these: he recalls Wag-\nner and Bayreuth and refers to the\npower that all that is contained in the\nword spectacle has upon painters. A\nword about Fortuny, Bakst and Benois,\nsomething about Mme Raquel Meller,\nand he is done.\nExcellent M. Mauclair; .... but\nwhy did you forget Isadora Duncan ?\nAfter this brief Preface we enter\nthe big book itself and its 118 large\npage reproductions of the lesser known\nand practically unknown drawings, pain-\ntings, and engravings of Circus, Music\nHall and Theatre : more Circus and\nMusic Hall than Theatre.\nThe now rather familiar 44 Concert\ndonne a Rome en 1729 \" by Pan-\nnini reproduced in \"The Mask\" (0\nis given and I was again convinced\nthat some modern painter would do\nwell to repaint that wonderful scene\nand paint it properly. For Pannini\ndidn't : the reproductions in black and\nwhite are many times better than the\npicture itself which is curiously dead.\nI saw the original last month for the first\ntime and had expected so much and was\ndisappointed as never before in any\npicture. Sir William Orpen, if he\ncopied it and transformed it into co-\nlour which was really colour, would\nmake a miracle of it all. Pannini de-\nserves this of Orpen for he has de-\nsigned it well.\nTwo drawings by C. N. Cochin n-\ncluded in this book, designs for the\ninterior of a little court theatre, are\nvery delicious and are quite new to\nme, as is the Decor by Isabey of 1826,\na not at all Isabeyish thing, but pretty,\nA Decor attributed to Carlo Bi-\nbiena should surely be attributed to\nhim for as short a time as possible,\nfor it is not by him ; no Bibiena ever\n\n(i) The Mask. Vol. 13, 1. January 1927\nby courtesy of \" The Studio \"."}, {"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 2392, "texte": "failing to the extent this Dec°r fails\nin perspective, design and charm, and J\nin that Gal!i-c elaboration which is i\nthe hallmark of th's famous family of i\nscenographers.\nA reproduction is given of a water 1\ncolour (is it a water-colour?) by Tou-\nlouse-Lautrec from the collection of\nM. Arnold Seligman. But not for\nthe usual reason does it charm me\nthough it delights me no less so. Why I\nlike it so much is that it makes me laugh\nfor very long when ever I look at it.\nIt represents Valentin le desosse and\nla Goulue dancing at the Moulin-Rouge:\nand here again in this design are those\nhigh-brows to which I referred on ano-\nther page (T), in my review of the pro-\ngramme of the 1928 Folies Berg^res.\nTen to eleven high-brow gentlemen\nin evening dress are depicted looking on\nat Valentin and La Goulue and taking it\nto be wonderful serious high art. The\nwrapt expressions of the wearied men\nwho have come out late to taste high-\nart, to differentiate betwixt La Gou-\nlue and something, say, at the Opera\nhouse at which they have sat, sitting\nout the, to them, wearisome show.\nThese are the genuine high-brows ;\nplain good middle-class or, may be,\naristocratic people with noth ng to do,\nwho may once have read a play by\nRacine, may have heard of one of\njokes, but who want to forget,\nwant to go further and delve into the\ntruer beauty. And they search for it at\nthe Moulin-Rouge, for some artist who\nloves something in La Goulue has in\ntheir hearing said she is 44 divine\nThey come, these ten or eleven guests\nin evening dress, to find that, and,\nseeing her ugly feet, they look down\non the floor and search back in their\nminds for some old fable which shall\nhelp them to understand the profound\nsignificance of these hoofs :—not hers\nonly but those of M. Valentin too.\nThus, wasting their time and suppor-\nting the very worst kind of dancing,\nthese motionless men anyhow very well\nserve Toulouse-Lautrec as models.\nAnd I saw them only last month\nat the Folies Bergeres—that's the fun\nof it: the same old crew—thinking\nhard—trying not to show the emo-\ntion that had gone to their heads and\nwas fixed there—raising their brows to\nward off any likely descent of their emo-\ntion to the heart—wrapt, tense, tingling\nup there, and all about less than nothing.\nI should add that no library will\nbe complete without a copy of the\nbook of 118 fine plates: and Ido\nadd it.\n\np. b.\n\n(i) see page 769."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c051", "article_bluemountain": "bmtnaau_1928-10_01#c051", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.14", "titre_corps": "THE PLAYGOER'S HANDBOOK TO RESTORATION DRAMA by Malcolm Elwin", "titre_sommaire": "THE PLAYGOER'S HANDBOOK TO RESTORATION DRAMA by Malcolm Elwin", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 2394, "fin_caractere_exclue": 3243, "texte": "THE PLA YGOERIS HAND-\nBOOK TO RESTORATION\nDRAMA by Malcolm Elwin. Jona-\nthan Cape. Price 6/-\nTHIS is the second Hand-book to\nthe Drama that Mr. Cape has\nissued, and very useful it will prove\nto a number of people.\nIts biographical notes on the players\nof the period were unexpected : it is\ntoo often, when but little is exactly\nknown of the ancient actors, that these\nbiographical lists are drawn up full of\nsurmise and very little else.\nThe author, while writing of the\ntimes of Charles 11, still keeps us in\ntouch with today, and this prevents\nthe work from becoming too oryly\nhistorical: but for all this hundreds of\nthe dry facts are there, and by aid\nof an index we can find them at\nonce.\nIt is a happy addition to the ear-\nlier works by Dr. Allardyce Nicoi!\nand Mr. Palmer, and to both works\nI was glad to see Mr. Elwin is happy\nin his praise."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c052", "article_bluemountain": "bmtnaau_1928-10_01#c052", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.15", "titre_corps": "ELLELINE TERRISS by Herself and with Others", "titre_sommaire": "ELLELINE TERRISS by Herself and with Others", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 3245, "fin_caractere_exclue": 4020, "texte": "ELLELINE TERRISS by Herself\nand with Others. Cassell & Co.\nPrice 7/6 net.\nILLUSTRATED by delightful pictures\nI of this little lady, the book is charm-\ning from first to last. And very in-\nteresting, and screamingly funny at the\nleast opportunity.\nThere is a record too which runs\nthrough all the entertaining gay pages,\nand it is a record oi very hard work.\n\"Who would guess it to look at the\nportraits of this young and ever po-\npular actress.\nBut then that has been part of hei\nart—to hide the stress and worry oi\nthis labour of love ; for though she\nlias made great successes, financial ones\ntoo, she has always looked on her nfe\nand career as two things, to be devo-\nted to her profession and to her partner\nin it—her husband Seymour Hicks.\nIt is a veiy admirable record."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c053", "article_bluemountain": "bmtnaau_1928-10_01#c053", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.16", "titre_corps": "CHAMBERS ENCYCLOPAEDIA", "titre_sommaire": "CHAMBERS ENCYCLOPAEDIA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 4022, "fin_caractere_exclue": 5052, "texte": "CHAMBERS ENCYCLOPAEDIA,\nNew Edition.\nIT is naturally the Theatrical entries\nwhich we turn to ; and straight away\nwe find fifteen and a half pages de-\nvoted to the word Theatre, and the\nwhole question of Theatre, ancient and\nmodern, gone into most thoroughly.\nFirst touching upon the Theatre in\nCrete, the writer reaches the Classic\nTheatre, treats of its building, its fit-\ntings, its performers and its decline.\nThen the Christian Theatre, Early Eng-\nlish Theatres, Italian and French in-\nfluences, and the modern movement\nfrom Godwin down to today.\nThis is followed by an excellent\npassage on the Art of Acting, and at\nbrief one on the Licensing of Theatre?,,\nBesides this long article we have:\nethers on Amphitheatres, Drama,\nMasques, Mime?, Mystery ana Miracle\nplays, Opera, and Pantomime.\nChambers' Encyclopaedia will not\nbe behind the Encyclopaedia Britan-\nnica in its proper and most modern pre-\nsentation of this dirhcult subject, but\nwill assuredly be consulted before any\nother book by anyone who writes on\nit in future."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c054", "article_bluemountain": "bmtnaau_1928-10_01#c054", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.17", "titre_corps": "THE PIKE FISHER by Edward F. Spence", "titre_sommaire": "THE PIKE FISHER by Edward F. Spence", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 5054, "fin_caractere_exclue": 6340, "texte": "THE PIKE FISHER by Edward\nF. Spence K. C. ; A. & C. Black.\n(price not given).\nTHE writer, 44 E. F. S. \" is the\nPike fisher and there is a por-\ntrait of him as frontispiece looking as\ngentle as any sucking dove.\nFacing page 67 is the poitrait of\nhis collaborator—the Pike—. A more\ndeadly looking devil I never set eyes on.\nIt holds dozens of designs for masks,\nthis pike's head.\nBut is he, was he in life, in pond\nor rivers or in lakes,... so deadly\nas his face would say ? Wasn t it\nMr. Spence who made him do it ?\nIf it hadn't been for such men as\nSpence would such a fish as this same\nPike ever have existed ? I have al-\nways felt that all sport, with animals,\nbirds and fish as the source of sport,\nwas cruel and unpleasant. Man ver-\nsus something his own size, without\nweapons which carry a hundred yards\nand exterminate easily, seems fair play :\nsport of the kind I refer to seems to«\nme unfair. So when I look at Mr.\nSpencels face and then at this Pike's I\nam puzzled what to think.\nThe book is full of instructions which\nto other Pikeists will be of value. To\nme 44 I believe that the pike does not\nsuffer physically from pain \" is comfor-\nting. I wonder is he subject to the *\njoys of pleasure. Presumably not.\nMr. Spence's book is full of good\nstories and several stage asides."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c055", "article_bluemountain": "bmtnaau_1928-10_01#c055", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "image_debut": 46, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.18", "titre_corps": "THE HEPTAMERON of Margaret, Queen of Navarre", "titre_sommaire": "THE HEPTAMERON of Margaret, Queen of Navarre", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "debut_caractere": 6342, "fin_caractere_exclue": 6648, "texte": "rwinrmmr M ■ ■■■■■ ! I MIWHIHIIBIIHII I—nlIIWWIFRN———^\nTHE HEPTAMERON of Marga-\nret, Queen of Navarre. Stanley Paul.\nPrice 2)6 nel.\nTHIS new volume in the 44 Interna-\ntional Library \" forms a compa-\nnion to the already issued 44 -\nmeron *' to which it is related both by\nthe plan of its construction and by"}, {"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 5095, "fin_caractere_exclue": 5590, "texte": "the racy and romantic frankness which\ncharacterises the tales.\nMargaret of Angouleme, Queen of\nNavarre, wrote this book about four\n' years before her death in 1549 for\nthe amusement of her brother Francois\nI, when the 44 Decameron ** had been\nrecently translated into French by An-\ntoine Le Macon, who, with Rabelais,\nBonaventure Desperiers (another jovial\nteller of tales) and other kindred spi-\nrits formed the retinue of wits, poets\nand phi'osophers which Margaret liked\nto gather around her."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c056", "article_bluemountain": "bmtnaau_1928-10_01#c056", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.17.19", "titre_corps": "LETTERS OF WOLFGANG AMADEUS MOZART", "titre_sommaire": "LETTERS OF WOLFGANG AMADEUS MOZART", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 3317, "fin_caractere_exclue": 5093, "texte": "LETTERS OF WOLFGANG\nAMADEUS MOZART Selected\nand Edited hy Hans Mersmann: trans-\nlated from the German by M. M.\nBozman. Illustrated. /. M. Dent &\nSons. Price 10/6 net.\nTHIS new volume in Messrs Dent's\n44 Internationa! Library of Books\non Music \" gives us nearly three hun-\nd ed pages of delightful letters, covering\nthe whole of the composer's life froui\nearly boyhood until his death in 1791;\nletters intimate, vivacious, and illumina-\nting all the inner relations and vicissi-\ntudes of Mozart's life, as well as throw-\ning much light npon his work and\nhis relations with the public men of his\ntime, and his own reactions and esti-\nmates respeebng them.\nHere we have the life of the courts\nand opera houses and drawing-rooms ;\nof the poor lodgings to which he re-\nturned after his triumphs; the family\ntrials ; the little but affectionate conflict\nwith his remarkable father; his love\naffairs and marriage; in fact the man\nhimself revealed in his own words, in\nhis response to others, and in their cri-\n* ticisms of him. It is all informal, spon-\ntaneous, and charming, for even the\nseemingly severe but so affectionate let-\nters addressed by Leopold Mozart to\nhis son, when read after a lapse of a\ncentury and a half, retain all that en-\ngaging quality the man possessed and\nwhich made him so loved by his great\nson.\nThat this book is not as good as the\nsource from whtch it was drawn cannot\nLe helped. For the English reader\nnothing can improve upon Edward\nHolmes' 44 Life of Mozart \" in which all\nthese letters appeared first in English.\nThat book is one of Dent's 44 Every-\nman Series \" and is one of the most\nenchant ng things to read ; and it al-\nways seems to me a pity to forget or\nhelp the public to miss the best bock\nfor the s*ke of biinging out a merely\ngood book."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c057", "article_bluemountain": "bmtnaau_1928-10_01#c057", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.18", "titre_corps": "EDITORIAL NOTES : OCTOBER: NOVEMBER: DECEMBER", "titre_sommaire": "EDITORIAL NOTES : OCTOBER: NOVEMBER: DECEMBER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 3315, "texte": "EDITORIAL NOTES\nOCTOBER: NOVEMBER: DECEMBER\n\nON TAKING RISKS IN THE\no THEATRE. o\nTHERE is a notion everlastingly\nflitting around London and its\nTheatrical circles that any bold artist is\ndangerous to the 1 heatie.\nAny man with the wit to lake risks\nwith his work is considered a danger.\nNow we should have thought it was\nprecisely this wit to risk which was\nlacking on our stage, and its lack one\nof the reasons why our English Theatre\nis so hidebound.\nIn connection with this supposition\nit is not uninteresting to come across the\nfollowing remark by Dr. Quesnay, a\nman of parts and called by Louis XV\n44 his thinker \".\n44 Soldiers \" said Dr. Quesnay,\n\" make a great mystery of their art;\nbut why have young princes all such\ngreat successes ? Because they ere\nactive and bold. Why do sovereigns\nrvho command their troops do great\nthings ? Because they are masters, and\ncan risks\nAnd if you come to think of it,\nwhat great success was ever achieved\nexcept in the face of great risks.\nSome famous surgeon saves a va-\nluable life by risking the chances. Ge-\nnius assuredly succeeds not only in\ntaking pains bnt risks.\nAnd so it would seem pretty foolish\nto spoil the British Theatre by a fa-\ntuous trust in safe men.\nAnd the queer thing about genius\nwhich is ready to risk so much is it is\nseldom foolhardy. It is bold, not in-\ncautious; venturesome, not thoughtless.\nAnd, unluckily for the British Stage,\na thoughtless society is apt to attribute\nits fault to genius.\n\no BRITISH. o\nTHE day is over and gone when, if\nwe Bre Englishmen, we can afford\nourselves to waste another hour gazing\n100 loviugly at any foreign gocds what-\never. Art may be International ; and\nany nation which first supports and is\nproud of its Lest talent in the Thea-\ntre can assuredly look Internationally\nat the Theatre. Till it does this it\nmay not.\n\nE Y E S O F YOUTH.\nTHERE is Professor Rothenslem, that\nyoung man of fifty-four if we mis-\ntake not his age who at twenty was\ndrawing beautiful and historically va-\nluable portraits of Verlaine and other\ngreat French writers, and who since has\ndrawn for us the most important col-\nlection of portraits we possess.\nAnd there is another William Rothen-\nstein whose work at present is known\nto only a few ; this is the second\nson of Professor Ro her,stein, and it is\nto his work we would like to draw the\nattention of a few more people, for it\nhas very lovely things in it.\nWho will d seem them ? who\ncould we wish most to look ? A learned\nman? perhaps: a clever critic? not\nso bad : a fellow artist ? still better.\nBut after all there are eyes waiting to\nsee which, when they look, will give\nsomething as well as take, and they\nmust be. we suppose, the eyes of a\nyoung girl.\nFor who but a young girl can un-\nderstand the thought of an artist? that\nis why we touch on the matter\nHundreds of eyes pass and repass,\nand some, even ours, have seen some-\nthing that is lovely in the work cf this\nyoung artist: but our eyes are all clou-\nded after all we are not so young\nas is the work itself, nor so pure.\nAnd so the more young girls who\ngo to look at drawings and paintings\nby young men the better; for these\nthings are documents of the living being,\nand these documents, speaking even to\nus, will call out to them* Nor will\nthey merely whisper of 44 the lost\ntraveller's dream under the h'll \"."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c059", "article_bluemountain": "bmtnaau_1928-10_01#c059", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.18.2", "titre_corps": "ON TAKING RISKS IN THE THEATRE", "titre_sommaire": "ON TAKING RISKS IN THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 45, "fin_caractere_exclue": 1466, "texte": "ON TAKING RISKS IN THE\no THEATRE. o\nTHERE is a notion everlastingly\nflitting around London and its\nTheatrical circles that any bold artist is\ndangerous to the 1 heatie.\nAny man with the wit to lake risks\nwith his work is considered a danger.\nNow we should have thought it was\nprecisely this wit to risk which was\nlacking on our stage, and its lack one\nof the reasons why our English Theatre\nis so hidebound.\nIn connection with this supposition\nit is not uninteresting to come across the\nfollowing remark by Dr. Quesnay, a\nman of parts and called by Louis XV\n44 his thinker \".\n44 Soldiers \" said Dr. Quesnay,\n\" make a great mystery of their art;\nbut why have young princes all such\ngreat successes ? Because they ere\nactive and bold. Why do sovereigns\nrvho command their troops do great\nthings ? Because they are masters, and\ncan risks\nAnd if you come to think of it,\nwhat great success was ever achieved\nexcept in the face of great risks.\nSome famous surgeon saves a va-\nluable life by risking the chances. Ge-\nnius assuredly succeeds not only in\ntaking pains bnt risks.\nAnd so it would seem pretty foolish\nto spoil the British Theatre by a fa-\ntuous trust in safe men.\nAnd the queer thing about genius\nwhich is ready to risk so much is it is\nseldom foolhardy. It is bold, not in-\ncautious; venturesome, not thoughtless.\nAnd, unluckily for the British Stage,\na thoughtless society is apt to attribute\nits fault to genius."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c060", "article_bluemountain": "bmtnaau_1928-10_01#c060", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.18.3", "titre_corps": "EYES OF YOUTH", "titre_sommaire": "EYES OF YOUTH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 1827, "fin_caractere_exclue": 3315, "texte": "E Y E S O F YOUTH.\nTHERE is Professor Rothenslem, that\nyoung man of fifty-four if we mis-\ntake not his age who at twenty was\ndrawing beautiful and historically va-\nluable portraits of Verlaine and other\ngreat French writers, and who since has\ndrawn for us the most important col-\nlection of portraits we possess.\nAnd there is another William Rothen-\nstein whose work at present is known\nto only a few ; this is the second\nson of Professor Ro her,stein, and it is\nto his work we would like to draw the\nattention of a few more people, for it\nhas very lovely things in it.\nWho will d seem them ? who\ncould we wish most to look ? A learned\nman? perhaps: a clever critic? not\nso bad : a fellow artist ? still better.\nBut after all there are eyes waiting to\nsee which, when they look, will give\nsomething as well as take, and they\nmust be. we suppose, the eyes of a\nyoung girl.\nFor who but a young girl can un-\nderstand the thought of an artist? that\nis why we touch on the matter\nHundreds of eyes pass and repass,\nand some, even ours, have seen some-\nthing that is lovely in the work cf this\nyoung artist: but our eyes are all clou-\nded after all we are not so young\nas is the work itself, nor so pure.\nAnd so the more young girls who\ngo to look at drawings and paintings\nby young men the better; for these\nthings are documents of the living being,\nand these documents, speaking even to\nus, will call out to them* Nor will\nthey merely whisper of 44 the lost\ntraveller's dream under the h'll \"."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c061", "article_bluemountain": "bmtnaau_1928-10_01#c061", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.18.4", "titre_corps": "BRITISH", "titre_sommaire": "BRITISH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "debut_caractere": 1468, "fin_caractere_exclue": 1825, "texte": "o BRITISH. o\nTHE day is over and gone when, if\nwe Bre Englishmen, we can afford\nourselves to waste another hour gazing\n100 loviugly at any foreign gocds what-\never. Art may be International ; and\nany nation which first supports and is\nproud of its Lest talent in the Thea-\ntre can assuredly look Internationally\nat the Theatre. Till it does this it\nmay not."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c063", "article_bluemountain": "bmtnaau_1928-10_01#c063", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19", "titre_corps": "LAST WORDS", "titre_sommaire": "LAST WORDS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 7813, "texte": "LAST WORDS.\n\nA 1500 PLAN OF VENICE.\nIN this number 44 The Mask \" continues\nthe series of Topographical Plans of\nCities which have included platisof Rome,\nParis, London and Florence, with a plan\nof Venice, of which the first six sections\nare published this quarter, and the re-\nmaining six will be issued with the Ja-\nnuary-March part, 1929.\nThis magnifioent plan, the original\nwoodblocks of which are preserved in\nthe Museo Civico of Venice, is dated 1500.\nPompeo Molmenti. in his learned and\ndelightful work, 4* La Storia di Venezia\nnella Vita Prlvata referring to this\n'• most beatiful plan says that it 44 was\nfirst believed to be by Alberto Durer and\nis now attributed tojacopo de' Barbari \"\n(circa 1450 circa 1516),\nThomasOkey, in his 41 Old Venetian\nPalaces \" (J. M. Dent & Sons, 1907) also\nwrites of it as 44 the map of Venice, va-\nriously attributed to Albrecht Durer, to\nMantegna, and others, but now generally\nascribed tojacopo de' Barbari \", and adds\nthat 44 In November 1499 Antonio Kolb,\na German, who had printed a map of\nVenice at great expense, which he sold\nat three ducats, applied to the Privy\nCouncil for permission to export copies,\nwhich permission was granted \".\nBryan's Diclionary of Painters and\nEngravers (G. Bell & Sons, 1904) in the\nBiographical Notes on de' Barberi, says,\nreferring to this publication by a Oer-\nman: 41 ... some time before 1500 tarbarj\nmust have been back in Venice for at\nthat time he executed an immense plan\nor birdseye view of that city, which was\nengraved on wood, and published by\nAnton Kolb, the head oj tho German\nmerchants settled in Venice \".\nWe shall publish further notes on\nthissplendid plan next quarter, supplying-\nfacts relative to the Venetian Theatres,\nMeantime we offer our readers the first\nsix plates,\n\nMORE HUMBUG ABOUT\no BRITISH ART. o\nAN EXTRACT FROM THE LONDON\nDAILY MAIL \" NOVEMBER 29 1928.\nO BRITISH BALLET. o\nM. DIAGHJLEFF TO AID NEW ENTERPRISE.\nSTEPS are being taken for the forma-\ntion of a British Ballet on the lines\nof the famous Russian organization, of\nwhich M. Serge Diaghileff is the head.\nM. Diaghileff is giving his help to the\nproject.\nThe organizers hope to make the\nballet all-British within a year\\ but lead-\ning , Russian ballet dancers are likely to\nfigure in it ct first.\nTo some extent the existing Rus Fan\nBallet ana the British Ballet may inter-\nchange zvhen the movement obtains a firm\nfooting, and the British ballet dancers\nmay be seen at the Riviere resorts and\nelsewhere on the Continent.\nReticence is at present being shown\nby the organizers, but it is believed that\nno difficulty has been experienced in rai-\nsing the capital for the British enterprise.\n\" It is likely that we shall have a\npreliminary run in the provinces before\nthe ballet is seen iu London \" said one oj\nthe organizers, yesterday.\nALL of which is humbug.\nMere British money doesnT make\nit a British work.\nIf there's British money to spare why\nwasn't it given when Stratford on Avon\nwanted it for Shakespeare, who is British ?\nWe all know of course that in M. Dia-\nghileff's corps de ballet are several young\nEnglish ladies ; but instead of being in\nany way at all expressive of the English,\nthey merely imitate their Russian sisters.\nThey splash around very skilfully but\nare prac' ically dancing a Russian-French-\nItalian dance.\n\" But we in Russia,... we could not\ndance in 1750,.. and we sent for French\nand Italian dancers to teach us how to\ndance. Why are you so against the same\nidea for England? \".\nSo said a brilliant Russian artist to\nme last month ; and he's a dear good\nfellow into the bargain.\nlike 1\n', I happen to.be an Englishman,\naud I can t swallow his prescriptions.\n1 giant that it's one way to establish\na school of dance in Britain,... but it's\nTH<? second-best way: and if England is\ngoing in for second- bests I'm not going\nto be one of those to stand for it. It's the\nsame way with Sir Thomas Beecham (i).\nanization, if he is going to hobnob with the\nDiaghileff group, utterly unaware that\nhe is being used, played all over the\nplace, and if he is bent on doing a se-\neond-best British affair, The Mask is not\ngoing to stand for that either\nH's as paitrv as tbe Stratford on\nAvon idiocy. And it's unbusiness-like.\nWhen vou have no big streams and\nneed wood-pulp for paper, vou don't go\na firm and combine with a foreigner- vou set\nout properly like Northcliffe did and\nRothermere does. You establish the thing\non your own. It's all British or it's a\nfailure for Englishmen.\nSo with Theatre, with Opera, with\nexperienced in rat Ballet. The Foreigner must be kept out.\nAnything else is wretched bad business ;\nand, into the bargain, breeds a hybrid\nkind of spul.ioUs Theatre, Opera and Bal-\njet which is not worth a tinker's oath.'\n(l) For a letter from Mr. Gordon\nCraig to Sir Thomas Bee chant respectmg\nall-British Opera, see page..*\n\nRUSSIAN BLINDNESS\nMr. GORDON CRAIG SENDS US THE\nFOLLOWING LETTER and NOTE. J.S.\nYours sincerely\nV. N. POLOVTSEV\nPlenipotentiary Representative\nof the Russian Red Cross USSR.\nTHE RED CROSS SOCIETYOF RUSSIA. U.SS.R.\no 150 Southampton Row, London, o\n000 sth December 1928. 000\nDear Mr. Craig,\nWe beg to approach you this Christ-\nmas with a request to grant your kind\nassistance towards the work of the Rus-\nsian Red Cross USSR.\nA large part of the Red Cross atten-\ntion has lately been directed towards or-\nganisation of fi Children's Sanitary\nCamps as for instance in the Crimea,\nfor weak and delicate children of needy\nparents in order to enable them to get\nresty exercise and medical treatment\namidst beautiful scenery and healthy air.\nAltogether our work is concentrated\nnow, in Peace time, chiefly on rendering\nhelp to infants and children who nee a\ncare and assistance. We hope that the\nnew generations may become more fit to\nfulfil the Great Hope of the World:\nPeace and Frindliness among all Nations,\nTrusting to have vour kind support.\n1 am,\n\nE. G. C.\nmtmmmmmmmmKmmmmmmmmmmmmmmmmamammmmmmmmmmmmmmmmmmmmmmmmmtmmmmmmmmmmmmmammmmm\nTHIS seems to me to be a very cruel\nappeal.\nThousands of London children, and\nBritish children in the mining districts\nneed food and fresh air, and every penny\nof our money which we can spare should\ngo to these little British people.\nAnd here comes a Society from Rus-\nsia, settles in London and begins to or-\nganize a scheme to drain away the life\nblood of our poor little English kids.\nOne of the cruellest things I've heard\nof for years.\nIt seems to me incredibly blind of\nthis Society not to be able to see that by\nappealing for money from England it\nrobs our English children of the money\nthat it raises. I said as much when wri-\nting to Dr. (Mrs). V. N. Polovtsev.\nHer address is 150, Southampton\nRow, London ; and if anyone has a pas-\nsionate preference for Russian Art, Ballet,\nand the rest, they ought to think it over\nand see whether they can find £ 50 to\nsend to this Russian Red Cross.\nBut they should think it over first.\n\nMORE HIGHBROW FUN.\nA LONDON Journal, referring to the\nrelease of a new film The Postmaster,\nstates :\n\" The story, being Russian, is\nneedless' to say a tragedy ; Russian *\nproducers decline to deal in anything\nmore frivolous. It is noteworthy for the\nacting of Ivan Moskwin (not to be con-\nfused with Mosjoukir.e) to whom we are\nintroduced for the first time. Moskwin\nhas been described as u the Irving of\nRussia and the title is deserved \".\nFor Mosquin is essentially a come-\ndian ; though he has often succeeded in\nroles which are more gloomy, a great\ntragedian he is not; and to call him the\n\" Irving of Russia \" is incorrect enough\nwithout following it up with 41 the title\nis deserved \". Mosquin resembles 110 one\nbut himself. In his way he is an incom-\nparable actor, with a style entirely his own,\nfounded on a careful study of all that is\ngood in the traditional stage of Europe.\nO\nTHE END\nO F\nVOLUME XIV."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c064", "article_bluemountain": "bmtnaau_1928-10_01#c064", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19.1", "titre_corps": "A 1500 PLAN OF VENICE", "titre_sommaire": "A 1500 PLAN OF VENICE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 13, "fin_caractere_exclue": 1770, "texte": "A 1500 PLAN OF VENICE.\nIN this number 44 The Mask \" continues\nthe series of Topographical Plans of\nCities which have included platisof Rome,\nParis, London and Florence, with a plan\nof Venice, of which the first six sections\nare published this quarter, and the re-\nmaining six will be issued with the Ja-\nnuary-March part, 1929.\nThis magnifioent plan, the original\nwoodblocks of which are preserved in\nthe Museo Civico of Venice, is dated 1500.\nPompeo Molmenti. in his learned and\ndelightful work, 4* La Storia di Venezia\nnella Vita Prlvata referring to this\n'• most beatiful plan says that it 44 was\nfirst believed to be by Alberto Durer and\nis now attributed tojacopo de' Barbari \"\n(circa 1450 circa 1516),\nThomasOkey, in his 41 Old Venetian\nPalaces \" (J. M. Dent & Sons, 1907) also\nwrites of it as 44 the map of Venice, va-\nriously attributed to Albrecht Durer, to\nMantegna, and others, but now generally\nascribed tojacopo de' Barbari \", and adds\nthat 44 In November 1499 Antonio Kolb,\na German, who had printed a map of\nVenice at great expense, which he sold\nat three ducats, applied to the Privy\nCouncil for permission to export copies,\nwhich permission was granted \".\nBryan's Diclionary of Painters and\nEngravers (G. Bell & Sons, 1904) in the\nBiographical Notes on de' Barberi, says,\nreferring to this publication by a Oer-\nman: 41 ... some time before 1500 tarbarj\nmust have been back in Venice for at\nthat time he executed an immense plan\nor birdseye view of that city, which was\nengraved on wood, and published by\nAnton Kolb, the head oj tho German\nmerchants settled in Venice \".\nWe shall publish further notes on\nthissplendid plan next quarter, supplying-\nfacts relative to the Venetian Theatres,\nMeantime we offer our readers the first\nsix plates,"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c066", "article_bluemountain": "bmtnaau_1928-10_01#c066", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19.2", "titre_corps": "MORE HUMBUG ABOUT BRITISH ART", "titre_sommaire": "MORE HUMBUG ABOUT BRITISH ART", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 1772, "fin_caractere_exclue": 4829, "texte": "MORE HUMBUG ABOUT\no BRITISH ART. o\nAN EXTRACT FROM THE LONDON\nDAILY MAIL \" NOVEMBER 29 1928.\nO BRITISH BALLET. o\nM. DIAGHJLEFF TO AID NEW ENTERPRISE.\nSTEPS are being taken for the forma-\ntion of a British Ballet on the lines\nof the famous Russian organization, of\nwhich M. Serge Diaghileff is the head.\nM. Diaghileff is giving his help to the\nproject.\nThe organizers hope to make the\nballet all-British within a year\\ but lead-\ning , Russian ballet dancers are likely to\nfigure in it ct first.\nTo some extent the existing Rus Fan\nBallet ana the British Ballet may inter-\nchange zvhen the movement obtains a firm\nfooting, and the British ballet dancers\nmay be seen at the Riviere resorts and\nelsewhere on the Continent.\nReticence is at present being shown\nby the organizers, but it is believed that\nno difficulty has been experienced in rai-\nsing the capital for the British enterprise.\n\" It is likely that we shall have a\npreliminary run in the provinces before\nthe ballet is seen iu London \" said one oj\nthe organizers, yesterday.\nALL of which is humbug.\nMere British money doesnT make\nit a British work.\nIf there's British money to spare why\nwasn't it given when Stratford on Avon\nwanted it for Shakespeare, who is British ?\nWe all know of course that in M. Dia-\nghileff's corps de ballet are several young\nEnglish ladies ; but instead of being in\nany way at all expressive of the English,\nthey merely imitate their Russian sisters.\nThey splash around very skilfully but\nare prac' ically dancing a Russian-French-\nItalian dance.\n\" But we in Russia,... we could not\ndance in 1750,.. and we sent for French\nand Italian dancers to teach us how to\ndance. Why are you so against the same\nidea for England? \".\nSo said a brilliant Russian artist to\nme last month ; and he's a dear good\nfellow into the bargain.\nlike 1\n', I happen to.be an Englishman,\naud I can t swallow his prescriptions.\n1 giant that it's one way to establish\na school of dance in Britain,... but it's\nTH<? second-best way: and if England is\ngoing in for second- bests I'm not going\nto be one of those to stand for it. It's the\nsame way with Sir Thomas Beecham (i).\nanization, if he is going to hobnob with the\nDiaghileff group, utterly unaware that\nhe is being used, played all over the\nplace, and if he is bent on doing a se-\neond-best British affair, The Mask is not\ngoing to stand for that either\nH's as paitrv as tbe Stratford on\nAvon idiocy. And it's unbusiness-like.\nWhen vou have no big streams and\nneed wood-pulp for paper, vou don't go\na firm and combine with a foreigner- vou set\nout properly like Northcliffe did and\nRothermere does. You establish the thing\non your own. It's all British or it's a\nfailure for Englishmen.\nSo with Theatre, with Opera, with\nexperienced in rat Ballet. The Foreigner must be kept out.\nAnything else is wretched bad business ;\nand, into the bargain, breeds a hybrid\nkind of spul.ioUs Theatre, Opera and Bal-\njet which is not worth a tinker's oath.'\n(l) For a letter from Mr. Gordon\nCraig to Sir Thomas Bee chant respectmg\nall-British Opera, see page..*"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c068", "article_bluemountain": "bmtnaau_1928-10_01#c068", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19.3", "titre_corps": "RUSSIAN BLINDNESS : Mr. GORDON CRAIG SENDS US THE FOLLOWING LETTER and NOTE. J.S", "titre_sommaire": "RUSSIAN BLINDNESS : Mr. GORDON CRAIG SENDS US THE FOLLOWING LETTER and NOTE. J.S", "signature_source": "V. N. POLOVTSEV", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 4831, "fin_caractere_exclue": 5878, "texte": "RUSSIAN BLINDNESS\nMr. GORDON CRAIG SENDS US THE\nFOLLOWING LETTER and NOTE. J.S.\nYours sincerely\nV. N. POLOVTSEV\nPlenipotentiary Representative\nof the Russian Red Cross USSR.\nTHE RED CROSS SOCIETYOF RUSSIA. U.SS.R.\no 150 Southampton Row, London, o\n000 sth December 1928. 000\nDear Mr. Craig,\nWe beg to approach you this Christ-\nmas with a request to grant your kind\nassistance towards the work of the Rus-\nsian Red Cross USSR.\nA large part of the Red Cross atten-\ntion has lately been directed towards or-\nganisation of fi Children's Sanitary\nCamps as for instance in the Crimea,\nfor weak and delicate children of needy\nparents in order to enable them to get\nresty exercise and medical treatment\namidst beautiful scenery and healthy air.\nAltogether our work is concentrated\nnow, in Peace time, chiefly on rendering\nhelp to infants and children who nee a\ncare and assistance. We hope that the\nnew generations may become more fit to\nfulfil the Great Hope of the World:\nPeace and Frindliness among all Nations,\nTrusting to have vour kind support.\n1 am,"}]}, {"article_id": "bm-bmtnaau-1928-10-01-c069", "article_bluemountain": "bmtnaau_1928-10_01#c069", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19.4", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 5880, "fin_caractere_exclue": 6899, "texte": "E. G. C.\nmtmmmmmmmmKmmmmmmmmmmmmmmmmamammmmmmmmmmmmmmmmmmmmmmmmmtmmmmmmmmmmmmmammmmm\nTHIS seems to me to be a very cruel\nappeal.\nThousands of London children, and\nBritish children in the mining districts\nneed food and fresh air, and every penny\nof our money which we can spare should\ngo to these little British people.\nAnd here comes a Society from Rus-\nsia, settles in London and begins to or-\nganize a scheme to drain away the life\nblood of our poor little English kids.\nOne of the cruellest things I've heard\nof for years.\nIt seems to me incredibly blind of\nthis Society not to be able to see that by\nappealing for money from England it\nrobs our English children of the money\nthat it raises. I said as much when wri-\nting to Dr. (Mrs). V. N. Polovtsev.\nHer address is 150, Southampton\nRow, London ; and if anyone has a pas-\nsionate preference for Russian Art, Ballet,\nand the rest, they ought to think it over\nand see whether they can find £ 50 to\nsend to this Russian Red Cross.\nBut they should think it over first."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c071", "article_bluemountain": "bmtnaau_1928-10_01#c071", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.19.5", "titre_corps": "MORE HIGHBROW FUN", "titre_sommaire": "MORE HIGHBROW FUN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "debut_caractere": 6901, "fin_caractere_exclue": 7813, "texte": "MORE HIGHBROW FUN.\nA LONDON Journal, referring to the\nrelease of a new film The Postmaster,\nstates :\n\" The story, being Russian, is\nneedless' to say a tragedy ; Russian *\nproducers decline to deal in anything\nmore frivolous. It is noteworthy for the\nacting of Ivan Moskwin (not to be con-\nfused with Mosjoukir.e) to whom we are\nintroduced for the first time. Moskwin\nhas been described as u the Irving of\nRussia and the title is deserved \".\nFor Mosquin is essentially a come-\ndian ; though he has often succeeded in\nroles which are more gloomy, a great\ntragedian he is not; and to call him the\n\" Irving of Russia \" is incorrect enough\nwithout following it up with 41 the title\nis deserved \". Mosquin resembles 110 one\nbut himself. In his way he is an incom-\nparable actor, with a style entirely his own,\nfounded on a careful study of all that is\ngood in the traditional stage of Europe.\nO\nTHE END\nO F\nVOLUME XIV."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c072", "article_bluemountain": "bmtnaau_1928-10_01#c072", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.20", "titre_corps": "I Plan of Venice 1500", "titre_sommaire": "I Plan of Venice 1500", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "I.\nPlan of l'euice 1500."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c073", "article_bluemountain": "bmtnaau_1928-10_01#c073", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.21", "titre_corps": "II Plan of Venice 1500", "titre_sommaire": "II Plan of Venice 1500", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.51", "debut_caractere": 16, "fin_caractere_exclue": 40, "texte": "II.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c074", "article_bluemountain": "bmtnaau_1928-10_01#c074", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau192810-01.2.22", "titre_corps": "III Plan of Venice 1500", "titre_sommaire": "III Plan of Venice 1500", "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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "III.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c075", "article_bluemountain": "bmtnaau_1928-10_01#c075", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "189", "page_fin": "189", "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=bmtnaau192810-01.2.23", "titre_corps": "IV Plan of Venice 1500", "titre_sommaire": "IV Plan of Venice 1500", "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": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "IV.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c076", "article_bluemountain": "bmtnaau_1928-10_01#c076", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "191", "page_fin": "191", "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=bmtnaau192810-01.2.24", "titre_corps": "V Plan of Venice 7500", "titre_sommaire": "V Plan of Venice 7500", "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": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 23, "texte": "V.\nPlan of Venice 7500."}]}, {"article_id": "bm-bmtnaau-1928-10-01-c077", "article_bluemountain": "bmtnaau_1928-10_01#c077", "volume": "bmtnaau_1928-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "image_debut": 39, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 371, "texte": "BRITISH PRONUNCIATION\nA LOW FORM OF TREASON.\nA well-known singer whose songs are spread from one end\nof the British Empire to the other through the gramaphone\npronounces the words You've got me every time\nlike this\nYou've gort me every toime.\nSo is the British speech being made cheap and nasty.\nTOIME\nthe popular way of saying\nTIME\nDOING\nfor\nDYING\nCan it be stopped ?\n3%"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.1", "texte": "v' 'm i ; 4- ? */ m j . ■■ ■■ -- I\nWB*, rap\nr I i ■ 11 « /r a /-v v v\nI H /■ /V\nSB 9H HS H - B # »3 M ta ix. H |\n■lm/I M B mS\nS II I Im/I / m\n■ wnk Ml Hb wB IB vk.\nJl Ji I I A 1 W I I % k I f St\n« MM Ma W JML JL JEk A, Jfev\n; J&1-. ' I\nVOLUME FOURTEEN. NUMBER FOUR\nOCTOBER-NOVEMBER-DECEMBER\n19 2 8\n*-v-.\nANNUAL SUBSCRIPTION EDITION DE LUXE\nTEN SHILLINGS R|CE A TWENTY SHILLINGS\n(POST FREE) (POST FREE)\n° °\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\nanmrrri —^M^rrjr^lTJ ff^¥ -Tffr- r--mm- n, ) i iiir RI lIW IF-iiinini IMIMIII ■» ■MIHM\n\nTHE PASSING OF A GREAT MASTER,\nMAESTRO ENRICO CECCHETTI, His\nservices to the Ballet, with many personal memo-\nI /T .1 IV/ T*> ,\nries, by Cyril W. beaumont.\nTWO BOOKS, being considerations on Bri-\nX tisH Inertia and Russian Activity in the Thea-\ntre, and on Mr. Louis N. Parker, Dr. Joseph\nGregor and Dr. Fulep Miller, by Ma che.\n' 1 'HE LIBRARY OF A COMEDIAN ;J. P.\nX HARLEY 1786-1858, by Paul McPharlin.\nSOME TECHNICAL SECRETS OF 16TH\nCENTURY SCENOGRAPHY from the\nBook of Nicola Sabbattini, 1638.\nPARIS 1928. Folies Berg&res and Highb rows,\nby p. b.\nTWO DRAMATISTS, And A Great Name\nForgotten, by E. G. C.\nBRITISH OPERA, SIR THOMAS BEE-\nCHAM & MR. GORDON CRAIG,\n\nILLUSTRATIONS\nSIX LARGE SECTIONS OF A MAGNIFICENT PLAN OF\nVENICE 1500\nOF WHICH THE REMAINING SIX PLATES WILL APPEAR NEXT QUARTER\nA PORTRAIT OF MAESTRO ENRICO CECCHETTI. DIAGRAMS OF SIX-\nTEENTH CENTURY SCENIC DEVICES"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.2", "texte": "THE MASK. OCTOBER-DECEMBER 1928\nNOTICE TO CON T PdBlJ TORS. The Editor is always glad to consider articles and illustrations from\nexperts in theatre history and art, which result from special research or personal experience• Where stamped\n■\nand addressed envelopes are included, every effort will be made to return in due course rejected contributions :\nbut in no circumstances can he hold himself responsible for safe custody or return. All articles should be\ntypewritten.\nAddress: The Editor: \" The Mask Box 444, Florence, Italy.\n\nLITERARY CONTENTS.\nSHAKESPEARE, STRATFORD ON AVON AND A\nBRITISH ARTIST . J. S I . 139\nTWO BOOKS 142\nTHE PASSING OF A GREAT ARTIST . . . Cyril W Beaumont . . , .146\nTHE LIBRARY OF A COMEDIAN, J. P. HARLEY . Paul McPharlin 154\nEXTRACTS FROM THE PRACTICE OF MAKING II I I\nSCENES AND MACHINES IN THEATRES . . Nicola Sabbattini. . I. .162\nPARIS 1928 . , . p.f. 169\nTWO DRAMATISTS E. G. C 170\nTOWARDS PERFECTION Hokusai 171\nWALDTEUFEL D. P. . 1 172\nBRITISH OPERA: AN OPEN LETTER TO SIR\nThOMAS BEECHAM ...... Gordon Craig . . . . .172\nA NOTE ON THE PLAN OF VENICE. J. S 182\nBOOK REVIEWS AND EDITORIAL NOTES.\n\nILLUSTRA\nMAESTRO ENRICO CECCHETTI Plate 21, Face 139\nSIX PLATES OF A PLAN OF VENICE, 1500 . . . . ■ 182\nFIVE DIAGRAMS FOR SCENIC MECHANISM . . Nicola Sabbattini , . Page 162-168\nTHREE SILHOUETTES. ...... Daniel Nicholas Chodowiecki. n 142, 146,\n135\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[138]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.4", "texte": "MAESTRO ENRICO CECCHETTI.\nPlate 21.\n\nTHE MASK\n1928"}, {"page_pdf": 5, "page_imprimee": "[139]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.5", "texte": "THE MASK\n19 0 8 19 2 8\n\nSHAKESPEARE\nSTRATFORD, AND A BRITISH ARTIST.\n\nTHAT excellent monthly magazine \" The Shakespeare Review\"\nedited by A. K. Chesterton has in its third number a very\nblithering article on \" The Mask \".\nWe say blithering, for we find it the essence of good\nmanners to use such terms about our adversaries. It's Parliamentary,\nand what could be more of a standard than the language used in such\nan exalted spot.\nHaving said as much, we will revert to the use of language more\n.comprehensible to our good friends at Stratford; for, dash it all, we\ncan't quarrel seriously with them.\n\"THE MASK'S\" ATTACK ON STRATFORD\nO BY THE EDITOR o\nis printed across the cover.\n\" The sincerity of \" The Mask \" is open to grave question \" writes\nMr. A, K. Chesterton.\nMr. A. K. Chesterton is wrong there. Open at all kinds of un-\nguarded spots, but not in the matter of sincerity. It's sincere enough.\nIt didn't and it doesn't like to see England at Stratford being propped\nup by any foreign nation. For if England would only stand square-\nly to its best men, all would be well."}, {"page_pdf": 6, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.6", "texte": "The collection of men in the Stratford-upon Avon Theatre scheme\nis not representative though good names figure on its prospectuses.\nAll would be well, for example, if either of the first three producers\nof English birth were placed in power on the stage at Stratford-upon-\nAvon. All would not be ill if the \" Shakespeare Review \" could not\nfind it possible to reproach \" England's really great men of letters \"\nfor not \" lifting a little finger to help the drama in this country \".\nThey do their best. They write as good plays as is in their power.\nWho in England can write better. That's lifting, not merely a little\nfinger, but making a big income too, always an admirable after-thought.\nIn the course of his excellent article Mr. A. K. Chesterton says\nthat \" the Stratford-upon-Avon oil fields have yet to be discovered \".\nPossibly; but he will hardly deny that the recent discovery of the\nnew spring of clean fresh water will be helpful to the Flower Brewery,\nthat Brewery which does not exactly spell ruin.\nFresh water makes better Beer; better Beer needs advertising, and\nthis whole Shakespeare excitement at Stratford-upon-Avon is to prove\nquite the big advertisement that was looked for.\n\" ' The Mask's' attack ... is not only mean and captious, but\nimpudent as well\" writes Mr. A. K. Chesterton. He adds that it is\nimpudent because it censures \" the actions of men who have devoted\nthe better part of their lives to furthering the interests of the Theatre \".\nWell, we should never have guessed that. \" The better part of\ntheir lives \" and to only achieve so little. We are sorry.\nSorry because we could name some ten men in England who are\nnot at work at Stratford, who have achieved more for the Theatre, and\nwho have never been called to Stratford to show them there how to\ndo it.\nNo, no, the Stratford-upon-Avon scheme is a little thing and seems\nto wish to remain so.\nObviously the right man to do this job was . . . but no, we shall\nbe held to be currying favour with Gordon Craig if we say more.\nBut what fiddlesticks it all is. Of course he is the only man for\nthat job. Made for it and it for him, and again the timidity of a com-\nmittee has missed its chance.\nMr. Craig may object to this and may point out that he is freer\nworking as he is."}, {"page_pdf": 7, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.7", "texte": "Whether this be so or not does not particularly concern us. What\nwe are trying to keep in view are the essentials:...\n1. Shakespeare.\n2. The British Theatre.\n3. The best British artist to produce.\n4. The British spirit somehow to rouse up in Stratford.\nAnd if American and other foreign money is used, if third-rate produ-\ncers are employed, neither Shakespeare nor the old British spirit can\npossibly flourish at Stratford-upon-Avon.\nI For the heart of the whole thing is the stage of the Stratford-upon-\nI Avon Theatre.\nBut a series of silly productions, tame to boredom, such as we are\ngiven there, can only once more convince all England that Shakespeare\nis vastly over-rated, out-of-date, and a bit of a nuisance.\n\nJ. S."}, {"page_pdf": 8, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.8", "texte": "A SILHOUETTE BY CHODOWIECKI.\n\nTWO BOOKS.\n\nSEVERAL OF MY LIVES\nBY LOUIS N. PARKER.\nTHE author writes a lively book, but\nhe quite unnecessarily bewails the\ndisaster which has fallen on the stage by\nthe loss of our old friends Waller, Tree,\nWillard and Alexander ;—44 No one to\ntake their place \" he cries, which is cor-\nrect but immoderately gloomy, and needed\na word more to make it clear and more\ncorrect.\nEveryone grieves for good friends gone\nand good artists no longer at work.\nNo one ever will fill Mr. Parker's\nplace ; even if a new Sheridan came he\nwould not fill the place occupied by Mr.\nParker perhaps not even attempt to.\nEach man of talent as he comes along\nfinds an empty place to fill and fills it;\nand so to bewail is to seem to be trying\nto make trouble.\nIt can be only seeming in Mr. Par-\nker's case, we may be sure, but it is\nnone the less a pity.\nIhe English stage appears to be going\non in the usual way away in which\nit has gone on since Sheridan died or\nsince Canute was king, or still further\nback.\nMuch of Mr. Parker's bitterness comes\nfrom bothering to suppose that \"peo- .\npie sneer at the Victorians. 44 Oh Gol-\nding \" he writes, 44 I am so sick of\nhearing the Victorians sneered at \"• But\nhe isn't always praising them himself...:\nI would, for example, have valued his\npraise of Irving, Ellen Terry, J. L. Toole,\nGrossmith and a couple of dozen more\nof those same Victorians. I find not a\nword.\nI would have liked to have read a\nfew appreciative lines on at least fifty,\npeople of today whose spirit is Victorian\nin the best sense and I find not even\na bare word. All I find is rather curious\nblind innocence that they ever existed.\nWell, then.\n%\nBut it's a chatty book and is written\nin the stage-memoir style, and needed only\na few illustrations in colour by Raphael\nTuck to make it just the happiest of la-\nmentations published for quite a long time.'\nMr. Parker hasn't a good word to\nsay for the New Movement in the Theatre.\nIn this Parker is like Harker, and it is\nunlikely that any of the members of that\nmovement will rouse themselves to enthu-.\nsiastically acclaim him as a particularly\njolly good fellow.\nExpression of sympathy,— kindness even,\nand a wish to not misunderstand any good\nin things being done breeds the same thing\nin others.\nMr. Parker isn't particularly kindly or\nsympathetic. Yes, he is of the Jose pb\nHarker type. Honest, doubtless, but with\na grudge against all in the New Movements\n\n(1) Chapman and Ha?! Ltd. 21/- net."}, {"page_pdf": 9, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.9", "texte": "So get his book at once. It will\nshow you just what 1 mean ; you 11 feel\nit surely enough when you come to the\nsection dealing with the stage.\nwn inwwß—»i jiiamj—-L.jLM—jLLMi I_M_J-UJL_HJ j i uiiifimMLaiiMiii —■—»■»»■\"■ »■' liiwwtiTT\"\n\nDAS RUSSISCHES THEATER\nBY JOSEPH GREGOR AND\nRENE FULEP-MILLER.\n(1)\nMR. Parker, his mind fixed on a small\npart of the globe, bent on those\nstreets which run from Piccadilly Circus\nto Fleet Street, horribly insular and not\nat all National, envious of those who he\nhas heard are doing things to bring about\na new Theatre in England, or ignorant\nof these,... Mr. Parker depresses. On the\nother hand, Dr. Gregor and Dr. Miller\nexhilerate.\nNot that they bring out a big book\non \" Das Englische Theater \" for it's\nnot yet quite time to do that. But they\nbring one out on the Russian Theatre,\nand they talk sense and are not jocular:\nithey come to the whole matter as seriously\n;as we like to think it deserves.\nThey understand a good deal more\ntth&n does Mr. Parker of what is taking\nthe place filled once by \" Waller, Tree,\nWillard and Alexander \".—\" No one to\ntake their place \" wails Mr. Parker. An\nidea created by a few men takes their\nplace and spreads far and wide, say Dr.\nGregor and Dr. Miller, although unfortu-\nnately they do not refer to Tree, to Willard,\nto Alexander or to Waller.\nOn the other hand they do not fail\nto speak of some English-speaking artists,\n.... of Maugham, Craig or Bel Geddes,\nChesterton, and Jones, and, in fact, some\nof all lands: of some Germans, Stern, Roller,\nReinhardt; of Claudel, Strindberg, Antoine;\nbut of none of that cosy little crowd known\nto Mr. Parker and considered by him as\nto be \" the be all and the end all here \".\nThis is rather a blow: rather dashing\nto that gloomy group which prefers to\nwhine that there is no one now as good\nas those wonderful men of the Victorian\nage instead of manfully saying there are\nsome just as good. To do that would\ncall for two things from the group: first\nhonestly looking the truth in the face, and\nthen admitting the truth of what we say\nand have said for years.\nNot Mr. Parker alone but others have\ndone and still do too much harm to the\nBritish theatre to be any longer excused for\ntheir indifference to one of the most im-\nportant movements which has ever come\nto wake up the European stage in\nwhich we hope the British stage may be\nincluded as part.\nAnd the Russians have contributed\nperhaps more than any other nation to-\nwards this awakening.\nThey have wanted things to go on,\nand not like Mr. Parker, or the late Mr.\nWilliam Archer, who have wanted things,\nto stay still, or Mr. Bernard Shaw who\nwants to be the one to have stopped them.\nThe result is the Russian Theatre\npeople have for twenty years or more\nbeen given every opportunity to exercise,\nto keep in training and to excel ; the\nEnglish Theatre people have been given\npractically no opportunity.\nWho doubts that Mr. Basil Dean, to\ntake the first name that comes handy,\nwould have done as well, say, as M. Tai-\nroff had he received the same support and\nbeen given opportunity to exercise, and\nkeen-witted appreciation during the process.\nBut London doesn't play the game\nsometimes and this is one of those times.\nIn Russia the theatre developed long\nbefore the Soviet came into being; but\n\n(1) Amalthea Verlag. (Wien) W'th 357 black and\n~ white and 48 colour illustrations. Price 70 marks. Bound*\n85 marks."}, {"page_pdf": 10, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.10", "texte": "the Tsars had not much to do with the\ndevelopment.\nIt was the result of an appreciation\nof intelligence, common sense; and it was\na state of serious belief amongst the artists,\nand the spectators and critics were not\nlate in welcoming the result.\nIn London scepticism is rife a se-\nrious belief in things amongst the artists in\nthe Theatre no longer exists.\nIf it had existed Gordon Craig would\nnow be the head of Drury Lane : Basil\nDean would rule at His Majesty's ; Bar-\nker would be back at the Court Theatre,\nand Sir Barry Jackson playing to packed\nhouses down in Birmingham.\nEach city in England would have its\npermanent repertory playhouse and be\nexperimenting towards worth while things:\nwhereas, thanks to the deadly spirit voiced\nby these sceptical writers of books like\nSeveral of My Lives \" and \" Studio\nand Stage \" (Harker), merry in sound and\nsceptical in heart, we have no experiment,\nno public welcoming our best men, and a\nclerk from Harrod's has the disastrous\naudacity to pretend he can adequately fill\nthe seat vacated by Garrick, Kean and\nIrving at Drury Lane. I refer to the\nable business man, Sir Alfred Butt.\n\nRUSSIAN ACTIVITY\nTHIS book, which lays before Europe\nmost of the stage work of Moscow\nand Leningrad is too full of good things\nfor anyone to review it in a single article.\nWe in England have seen the Russian\nBallet, and a branch of the Moscow Art\nTheatre has been to London. But there\nare several other theatres energetically\ndoing good things.\nThe 405 plates show us something of\nwhat has been done, although to under-\nstand the fuil result one would have to\nvisit each of the theatres or studios which\nhave done them.\n1. Ihe Moscow Art Theatre and its .\nseveral \" Studio Theatres \" with their\nsixty or seventy productions.\n2. Ihe Little Theatre.\n3' The Russian Ballet with its thirty\nor forty productions.\n4. The Studio of Bakst and Miss\nRubinstein.\n5. The Studio of Mme. Gontscharova\nand Larionoff.\n6. The experimental Theatres of Le-\nningrad ; there are some seven or more.\n7. Mayerhold's Theatres.\n8. Tairoff's Theatre with his host of\nclever actors, actresses, managers and de-\nsigners.\n9. The Habema Theatre.\nThese nine large sections of the Rus-\nsian theatre have established a standard.\nWhy the devil do you members of the\nBritish public allow the Parkers of\nthis earth to sneer away our standard?\nsuch a waste of time, for we have continually\nto reestablish it. In 1 900 we had already\nbegun work, but, while you have accep-\nted some of our work the lighter\nthings, ...\" The Beggars Opera\" ... and\na few Revues in which faint echoes of\nour British work were to be heard, you :\nso over-enthused about these that you ■\nexhausted yourselves over them.\nTne Russian artists do not cease trying\nto advance : the Russian public does not\ncease trying to follow its best, its most :\nserious, artists : pretty good, this.\nAnd if at times a Benois exceeds all\ngood sense and taste in a thing like his •\ndecor for \" Le Malade imagmaire \",\nif he fails to understand Moliere and that\n17th century stage, he anyhow knows\nthat his own public and his own Theatre\nfolk are not going to sceptically damn.\nhim for all time for his slip."}, {"page_pdf": 11, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.11", "texte": "Benois shows up well in this book.\nHis design for 44 Le Club des Cordeliers \"\n'Napoleon film, 1925, is not oniy a beau-\ntiful drawing reminding one a little of\nRolandson; it is essentially good cinema.\nHis drawings for 44 La Dame aux\nCamelias \" seems to me not up to his\nmark.\nThe fun of Dobuschinski's 44 La\nTraviata \" (Chauve-souris) belongs rather\nto charade work than anything better, but\nas such is not bad, not very good. His\n44 Blue room for A month in the country \"\nis a pretty drawing but is not comparable\nwith the same scene as presented by Sta-\nnislawsky from designs by the same ar-\ntist ; and his 44 Die Rauber \" is dull.\nBakst is as effective as any of the\ndesigners but does not seem ever to have\nquite got to grips with the stage; he is\nrather inclined to 101 l round it behaving\nbrilliantly when asked to do something\nwhich is direct and sensible. This does\nnot mean to say that he was not head\nand shoulders above Joseph Harker.\nSomehow or other Mme. Gontscharowa\nis twice as penetrating ; and now and\naaain she indeed dares to be more serious\nO\nthan most of them.\nSchukajeff likes to enjoy himself, and\n1 don't think I enjoy Poschedajeff or\nT schelischeff.\nA Exter is wide awake and doubt-\nless Tairoff derives much from his genius:\nyet if 1 were a stage manager I hardly think\n1 should engagp Mr. Exton.... but he is\nwide awake. A. Wesmn is not only\nawake ; he seems not to fear lest he\nshould go to sleep. Exter is too noisy\nto allow anyone to dream of such a thing,\n—which, after all, is possibly a good\nthing since fat men and women will go\nto the theatre for half an hour's snooze.\nFomina interests me, and 1 wonder\nwhether his model for 44 Galilei \" No. 223\nderives at all from a design in 44 The\nMask\" 1908.\nBut all this merely refers to those\ninspiring helpful designers who in the last\ntwenty-eight years or so have poured in\nat the stage door of the Russian Theatre\nand been warmly welcomed.\n\nINTELLIGENCE.\n\nWHERE was I ? ....oh yes, \" warmly\nwelcomed \".\nThey were welcomed by the actors\nand producers and stage managers. Every-\none was happy about it, not glum\nnot sceptical - not damned indifferent.\nAnd when we turn the pages of this\nbook and come across the portraits °f\nAlice Koonen and Zenaida Mayerhold\nwe see one of the reasons why.\nHere are intelligent women.\nTurning more pages we come to whole\ngroups of actors and actresses and we see\nhow they are trying seriously to absorb\nall the intelligences have to offer and\nhow well they succeed in this.\nNo Russian actors try to 4 queer '\nthings because they are strange to them:—\nthey have moral courage and go to meet\ndifficulties. It is this moral courage which\nhas won the Russian stage the first place\nin the European Theatre today.\nWithout any fear the actors work\nhard to adapt themselves to an idea : if\na scene looks odd they adapt to it and\nbecome part of the oddness. Criticism of\nit would seem to their fellow workers as\npetty as it is suicidal : and hence the\nRussian stage is living whilst ours is ... not\nin the very best of health.\n(Matrunin, by the way, is a clever\nfellow. Chaliapine has a studio theatre for\nwhich Matrunin works).\nI was once in Russia and attended\nsome rehearsals of a Russian play. The\n4"}, {"page_pdf": 12, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.12", "texte": "actors were quite the most seriously be-\nhaved men and women I have ever seen\nat work. It took them sometimes a long\ntime to arrive at what they were aiming\nfor : but they never gave up trying, nor\ndid they cackle, or sulk or talk disloyally.\nI never once saw them go on strike\nmentally. Far too proud: what we\nonce called too British :. (Leuterloff is\nanother clever fellow).\nMany are the theatres and artists I\ncannot even refer to here ; but one and all\nhave that courage I spoke of, are without\nscepticism, and are, as a rule, essentially\ntheatrical. Mayerhold, lam told, has genius.\nIn all this excellent work and passio-\nnate love of going on, of pushing on, I\nfind a tendency to things rather than\nto grow them.\nI don't know how it is, but lam\nnot altogether happy at the Russian Thea-\ntre : I'm not happy as lam when I have\na work of fine art to read, to look at or\nto hear.\nHow's this ?\nWell, a fine art is a fine art and there\nan end of it : and not yet in any land\nis the theatre even entering the condition\nnecessary to enter, before it can become\na fine art.\n\nMa che.\n\nA SILHOUETTE BY CHODOWIECKI.\n\nTHE PASSING OF\nA GREAT ARTIST\nBY CYRIL W. BEAUMONT.\n\nT'HE world of dancing is in deep mourning,\nfor its most noted personality, the Cav. En-\nrico Cecchetti, who died during November at\nMilan.\nHis father Cesare Cecchetti was a cele-\nbrated dancer and chor his mother\nSerafina Casagli was a premiere danseuse of\nrepute. On the night of June 21, 1850, after\ndancing, at the Tordinona Theatre, Rome,\nshe was taken ill in her dressing-room and\nthere gave birth to a child who some days\nlater was christened Enrico. When the mo-\nther was well enough to return to the theatre,\nthe baby accompanied her; and during the\nintervals when she was not dancing, she fed\nand comforted it until the hour arrived to\nreturn home.\nWhen the boy was five, his parents were\ndancing at Genoa. The repertory included\nRota's II Giocatore, in which the young Cec-\nchetti made a brief appearance as an actor.\nThe ballet concerns a gambler who, having\nlost everything, returns to the room where his\nwife and child are sleeping, to seek for some\narticle that he may stake in the hope of re-\ntrieving his fortunes. The wife awakens, begs\nher husband not to go and in final entreaty\nplaces her child across the threshold. But\nthe gambler, desperate, throws the child to\nthe mother, who catches it in her arms. The\nchild was then supposed to weep. But one\nnight, the mother—played by Signorina Santa-\nlicante—failed to catch the boy, and he fell\non the stage bumping his nose so that it bled.\nThe audience, not knowing this to be an\naccident, thought the child's tears so natural\nthat there were repeated \" calls\nSoon after this episode Cecchetti accom-\npanied his father and mother on a tour to\nAmerica, they having been engaged as mem-\nbers of a company organised by a dancer-\nimpresario called Ronsani. On the company's\nreturn to Italy, Cecchetti's father was engaged\nat the Victor Emmanuel Theatre, Turin, to\nstage four productions a year. He wrote many\nballets such as The Miller, Christopher -\nlumhus and The Mysteries of Paris.\nThe early eighteen-sixties provided many"}, {"page_pdf": 13, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.13", "texte": "important dates in the history of Italy; the\nrise of Garibaldi, the defeat of the Papal\nStates at Castelfidardo, the crowning of Victor\nEmmanuel—all this atmosphere of warlike ex-\ncitement inspired the lad with a wish to become\na soldier. He was divided between this new\npassion and his inherent desire to be a dancer.\nIt was about this time that Cecchetti's pa-\nrents decided that it was high time he began\nhis education and so he was sent to Fermo.\nThere, however, he spent most of his time\ntrying to turn pirouettes, greatly to the envy\nof his school-fellows. He remained a year at\nthis school; then his father, displeased at his\nprogress, brought him home.\nWhen Cecchetti was thirteen, a second\neffort was made to improve his education and\nthis time he was sent to a school at Florence.\nSoon after his arrival some breach of disci-\npline was committed in the class and the\nmaster pitched on Cecchetti as the culprit.\nDespite his protestations of innocence, he was\nsoundly caned. Enraged at such injustice,\nhe picked up an inkpot and hurled it at\nthe master. Then he dashed out of the class-\nroom and ran home, where he poured out\nhis woes to his father.\nThe parents began to lose heart at this\nnew set-back to their plans, for they had in-\ntended him for the legal profession. But to\nall their cajolings and reproaches he replied\nsimply that he wished to dance. So at last\nhis father sent him to the Academy of Dan-\ncing at Florence, presided over by Giovanni\nLepri, a former pupil of the celebrated Carlo\nBlasis.\nLepri was a good teacher who inspired\nhis pupils to put forth their best efforts by a\njudicious blend of praise and disparagement.\nCecchetti, now in his element, worked with\nall his might; and when Lepri gave his little\nannual ballets, that his pupils might display\ntheir progress, he danced several pas de deux\nwith his sister Pia When sixteen, he danced\nat the PagHano Theatre in his father's ballet\nNicolo di La pi.\nThis appearance led to a series of engage-\nments at small towns. At nineteen he danced\nfor a season with his father, mother and sister,\nand the year following made his debut at La\nScala, Milan, on December 31. 1870. This\nvery nearly proved his undoing, owing to a\nseries of mishaps.\nHe made his first entrance by springing\nout of a fiery cavern. To gain the necessary\nimpetus he had to clutch a couple of wires\nwhich at a signal lifted him upwards and\nforwards ; then, at a certain moment he had\nto let them go and alightgracefully to the\nstage. This moment had to be judged to a\nnicety but, through nervousness and anxiety,\nhe made a mistake and fell on his back. A\nlittle later he had to run close to the foot-\nlights, but the prompter's candle had dropped\ngrease, which the dancer failed to see; he\nslipped and a second time found himself on\nhis back. In the next act, just as he was\nabout to begin his great number, which in-\ncluded a number of pirouettes, a terrific crash\nresounded through the house. It was an oil\nchandelier fallen behind the scenes and the\nfluid began to trickle over the boards. There\nwas no time to draw back and Cecchetti,\nfilled with misgivings, launched himself into\nhis dance, in the course of which he executed\nthirty-two \" turns \" in succession,-crossing from\none side of the stage to the other. This tour de\nforce was received with a storm of applause.\nFrom then onwards his career was one\nof increasing fame. In the course of the next\nfew years he visited Copenhagen, Norway,\nHolland, Germany and Austria. In 1874, he\nsigned a contract to dance at St. Petersburg,\nwhich he revisited several years in succession.\nDuring the engagements he fulfilled on his\nreturn to Italy, he danced with a rising young\ndancer named Giuseppina de Maria, who had\nalso been a pupil of Lepri.\nCecchetti first danced with her at the\nTeatro Nazionale, Florence, in II Figlio di\nCheope, and on a later occasion in Manzotti's\nRolla. The exercise of their profession brought\nthe young dancers into frequent association.\nA friendship grew up between them and ri-\npened into love. They were married in Berlin\non December 2, 1878.\nIn 1885, we find Cecchetti as primo bal-\nlerina at La Scala, dancing with Emma Bessone\nand Rosa Turri in Danesi's ballet Messalina,\nproduced on January 4. A few weeks later\nhe came to London with the prima ballerina\nGiovannina Limido, to take part in the first\nLondon production of Excelsior, a celebrated\nballet by Manzotti, first presented at the Scala\non January 11, 1881.\nThe London production was staged at Her\nMajesty's Theatre on May 22. Though both\ndancers were received with applause, the ballet"}, {"page_pdf": 14, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.14", "texte": "at first did not take, through bad business\nmanagement. Finally, it was taken over by\nCharles Hawtrey who had the theatre re-de-\ncorated, and then re-opened with considerable\npress publicity. A further attraction was added\nin the person of Kate Vaughan, for whom a\npas seal was specially written, and, at last,\nthe production began to draw.\nWhen the season was over, the company\nreturned to Italy, where a new production\nby Manzotti was in preparation at La Scala.\nThis was Amor, produced on February 17,\n1886, in which the principal dancers were\nAntonietta Bella, Marie Miiller, and Cecchetti.\nHis wife took the part of principal mime.\nAmor attained 44 performances, and then Cec-\nchetti went to Fermo to produce a revival\nof Excelsior.\nIn 1887 he again appeared at La Scala\nin two new ballets by Manzotti: Rolla and\nNarenta, produced respectively on January 15\nand March 13. The prima ballerina in both\ncases was Adelina Rossi. In the summer he\ncollected an Italian company and, with Mme.\nLimido as principal dancer and his wife as\nprincipal mime, he secured an engagement at\nthe Arcadia Theatre, St. Petersburg.\nThe performance consisted of a ballet by\nCecchetti entitled Le Pouvoir de TAmour\nand a condensed version of Excelsior. The\nsuccess of the latter fired the managers with\na resolve to mount the whole ballet. But as\nthe smallness of the stage made this impos-\nsible, another of Manzotti's ballets, Sieba, was\nchosen. This season was most successful, and\nfrequently the audiences included the most\nnoted Russian dancers. At the final perfor-\nmance, busts of Mme. Limido and Cecchetti\nwere placed on the stage and crowned with\nlaurels by Russian artistes\nAs a result of this triumph Cecchetti was\ninvited to become a member of the Imperial\nTheatre in the capacities of premier danseur\nand professor of dancing, which he accepted.\nHe made his first appearance at the Maryin-\nsky Theatre in The Tulip of Haarlem, ar-\nranged by L. Ivanov, his partner being V. A.\nNikitina. This was followed by L'Ordre de\nRoi, in which he danced with the famous\nVirginia Zucchi. His reception was a repe-\ntition of that accorded to him at the Arcadia.\nTo appreciate the foil measure of this success\nit must be remembered that the Imperial Ballet\nat this time had attained a standard of tech-\nnique and mimetic ability which, considered\nin the mass, has probably never been equalled\nin the history of dancing, largely due to the.\ninfluence of the choregraphe Marius Petipa.\nDuring the next year, Cecchetti assisted\nin the revival of several old ballets, including\nPerrot's Katarina, ou la Fille du Bandit. The\nRussian engagement was very satisfactory to\nCecchetti, because it left him free in the sum-\nmer to accept other engagements. Paravic-\ncini, the agent for Blondin, who had seen\nCecchetti in Excelsior, secured his services for\nthe Empire, where he appeared in Rose\nd'Amour (1888), Orfeo (1891) and Versailles\n(1892), all of which ballets were arranged by\nMme. Katti Lanner.\nAmong Cecchetti's creations in Russia\nspecial mention must be made of his appea-\nrance in La Belle au Bois Dormant, pro-\nduced at the Maryinsky Theatre on January\n3,1890. In this he doubled the parts of Ca-\nrabosse and the Blue Bird. For two acts he\nwas a malignant, hump-backed v/itch with\ndragging gait; in the last he was a handsome\nyouth who danced a Variation which has be-\ncome a classic.\nIn 1902, Cecchetti was offered the post of\ndirector and maitre de ballet to the Imperial\nSchool of Ballet, Warsaw. It is probable\nthat, being so attached to St. Petersburg, he\nwould never have accepted this invitation, but\nhe had just quarrelled with a new director of\nthe Maryinsky Theatre and sent in his resig-\nnation.\nThe school at Warsaw was not in a good\nway. Its development had been fettered by\nan official passion for economy. Cecchetti, how-\never, succeeded in obtaining an increased\ngrant from St. Petersburg, and stimulated a\nhealthy rivalry by inviting some of the rising\ndancers at the Maryinsky, such as Pavlova, to\ndance at Warsaw. From time to time, many\nof the great dancers such as Kschesinskaia,\nPreobrajenskaia, Sedonva and Trefilova also\ndanced there.\nIn addition to his work as professor of\ndancing, he produced a number of ballets of\nhis composition, for instance After the Ball,\nPiplet and Eve.Fie remained in Poland for\nsome three years until, finding it difficult to\nwork under the growing revolutionary tendency,\nhe returned to Italy and settled in Turin*.\nThere he gave lessons and sometimes went to\nMilan and Rome to superintend productions."}, {"page_pdf": 15, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.15", "texte": "Nevertheless, constantly haunted by his\nmemories of St. Petersburg, he decided to\nreturn there. Implored to give lessons, he\nopened a school and was soon as busy as\never, training dancers and producing ballets at\ndifferent Russian towns.\nWhile on a visit to Moscow a friend took\n„ him to the theatre to see the debut of Anna\nPavlova, who had not been trained by him.\nAfter the performance he was asked for his\nopinion, which he gave with his usual frank-\nness. The friend passed on his remarks to\nthe dancer who presently herself came to see\nhim. As a result of their conversation she\ninvited him to become her sole teacher for\nthree years. He protested the claims of his\nschool, but Pavlova made him a handsome\n. offer and, having formed a high opinion of her\npossibilities, he accepted.\nIn 1909 began the new ballet movement\ninstituted by Fokine, the progress of which\nwas eagerly watched by Diaghilev and Be-\nnois. It was resolved to show Russian ballet\nabroad. A company of dancers was formed\nand the first season given at Paris. The re-\nsult was so successful that Diaghilev began\nU preparations for a second season, but in the\nmeantime Pavlova had formed a company of\nher own and he was left without a premiere\ndanseuse. He asked Karsavina to take this\nposition, but she did not wish to interrupt the\nlessons she was receiving from Cecchetti; the\nsame reason was pleaded when Diaghilev\nsought to obtain the services of certain other\ndancers. This decided him to ask Cecchetti\nto join his company, for he would then not\nonly secure the dancers he required, but also\na maitre de ballet and mime of genius.\nCecchetti's association with Diaghilev las-\nted some fifteen years in all. During this\ntime he maintained the company's technique\nat a high standard, so that its members should\nI be fitted to meet the demands made upon\nthem in turn by Fokine, Nijinsky, Massine,\nNijinska, and Balanchin. He strengthened\n\" muscles and joints that had become weak\nthrough over use, and those who could barely\nrise from the ground he taught to fly. How\nmany dancers owe to his care that ease of\nmovement which must be attained before the\n< dancer can become an artist!\n. In 1913, his association with Diaghilev\nsuffered a short break, for he accompanied\nPavlova on her American tour. But no sooner\ndid he return than Diaghilev came to claim\nhim. Then the Great War broke out and\nthe company departed for South America.\n1 here is no space here to follow their wande-\nrings, their painful tours over Spain until, after\nendless difficulties and hardships, they returned\nto London in 1918, where a season had been\narranged at the Coliseum.\nAt this time Cecchetti, weary of journey-\nings by land and sea, decided to reside in\nLondon. He opened an Academy of Dan-\ncing in Maiden Lane which he presently trans-\nferred to 160 Shaftesbury Avenue, where\nhe continued to teach until 1923, when a suc-\ncession of aches and pains made him long\nfor the sun of Italy. Used as he was to the\ncold, dry air of Russia, the dampness of se-\nveral London winters had begun seriously to\naffect his health, and he was not sufficiently\ncareful to protect his constitution. Often he\nwas so busy in his school that he worked\nfrom nine in the morning till six at night,\nsubsisting on a banana and a few biscuits,\nno fit diet for a man over seventy.\nYou are to imagine a visit to his arcanum\nof the dance.\nWe go up a flight of narrow, well-worn\nstairs ; then along the landing at the end of\nwhich is a door. We turn the handle and\nenter into a large rectangular room. There\nis no furniture, save at the far end opposite\nthe door. There, from right to left, is a piano,\na fireplace, a large mirror, a revolving chair,\nanother fireplace, a table on which stand vases\nfilled with flowers and, lastly, a comfortable\nsettee. Along the three remaining walls runs\na wooden bar. The walls are white with a\nblack skirting. The room is lighted by four\nlarge windows covered for half their height\nwith a glazed, transparent paper, patterned\nwith roses and their leaves. On the walls\nhang innumerable pictures of Karsavina, Pav-\nlova, Trefilova, Nijinsky and many others whose\nnames are the history of the Russian ballet.\nPresently maestro Cecchetti enters with a\nrapid, impulsive step. He exchanges saluta-\ntions with a quick nod of his head and twinkle\nof his eyes. He doffs his coat, seats himself in\na chair, takes in his right hand a thin Malacca\ncane with a curved handle and prepares for\nthe morning lesson.\nFrom an adjacent dressing-room stream\nforth a number of girls and young women ;\nsome in vari-coloured tunics, others in the"}, {"page_pdf": 16, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.16", "texte": "conventional ballet skirt. In turn they exchange\nkisses on both cheeks with the maestro and\nthe lesson begins with exercises at the bar,\nfollowed by centre practice and exercises on\nport de bras, adage and aliegre.\nThe relation betv/een professor and pupils\nis that of a father and his children, but the\nmaestro is none the less exacting. He con-\nducts the lesson with the discipline and rigour\nof a drill-sergeant. Whistling an appropriate\nmelody to each movement he emphasises the\ntime with vigorous taps of his cane, which\nstrikes the floor with the precision of a me-\ntronome. From time to time he rises from\nhis seat to correct the curve of an arm, the\nposition of a leg. His movements are expres-\nsive of his criticism. Skilful execution causes\na faint smile to flicker over his lips ; he bows\nhis head, which continually nods with plea-\nsure. A careless movement and he springs\nupright with an angry shout, to let fly a stream\nof Italian words, the precise meaning of which\nit would be unwise to guess at.\nWhen the Diaghiiev company made its\nperiodical visits to London, both Cecchetti\nand his wife took those parts which they made\nfamous ; and the members of the troupe did\nnot fail to attend the classes in order to fur-\nbish up their technique.\nAt six or half-past he would repair to his\nabode, a first-floor flat above a tobacconist's\nshop in Wardour Street, where an excellent\nmeal, prepared by his wife, invariably awaited\nhim. The dining room, like his studio, ra-\ndiated an air of homely comfort. By the\nwindow stood a piano, the top groaning under\nbronze statues of dancers, vases of flowers and\npiles of music. The mantel piece was crow-\nded with signed photographs of dancers.\nThere were several comfortable chairs, a table\ncovered with a chenille cloth and a massive\nside-board on which gleamed bottles of wine\nand more vases of flowers. From the ceiling\nover the table hung a cluster of electric lamps\nwhose illuminating power was positively blin-\nding. Cecchetti, so long accustomed to the\nglare of the footlights, seemed to insist on\na like brilliance in his home.\nHere I must insert a personal reminiscence.\nSince 1912 I have taken a great interest\nin the art of ballet. I cannot remember when\nfirst I made Cecchetti's acquaintance and was\ninvited to watch his classes; but I know that\nfrom the very beginning I was profoundly im-\npressed by the manner and spirit of his teach-\ning which had a definite system, obviously\nthe result of years of experience and cogita-\ntion, which required the harmonious develop-\nment of the whole body. Furthermore, the\nresults were obvious, a school that could pro-\nduce dancers of the quality of Pavlova and\nNijinsky compelled admiration. And when I\nsaw this method applied to British material\nwith remarkable results I felt it most desirable\nin the interests of dancing in general and of\na possible future British Ballet in particular,\nthat the Cecchetti method should be preserved,\nfor all time if possible.\nI consulted with Idzikowsky, one of his\nbest pupils, in regard to my project, with a\nview to obtaining his assistance. He was\nmuch interested and we made a beginning.\nBut, as the work progressed, I must confess\nthat, more than once, I thought of abandoning\nthe whole project, the difficulties seemed in-\nsuperable. It took me hours to set down in\nsimple language the most elementary move-\nment, though Idzikowsky performed it innum-\nerable times; for it was necessary to see and\nkeep track of a dozen things at once: the\nposition of the head, the poise of the body,\nthe grouping and movement of the arms, legs\nand feet.... the details seemed endless. Then\nin due course Idzikowsky had to go abroad\nwith the Diaghiiev Company and I was left\nto myself. We tried to continue by corres-\npondence, but this was not altogether satisfac-\ntory.\nOne day I spoke to Cecchetti of the book\nin hand. He was greatly interested and of-\nfered to supervise and assist, that the book\nmight be brought to a completion. And so,\nwhenever he had a free evening, I used to\ngo and work with him from seven till mid-\nnight. For more than two years the work\nstruggled on and at last it was finished.\nI shall always remember those evenings at\nWardour Street. Both Cecchetti and his-\nwife were kindness personified. They had\nnothing of the lofty airs and graces which\ncharacterise petty talents; every visitor, whether\nshe were a little child learning her five posi-\ntions or a premiere danseuse of international\nreputation, received the same genial welcome.\nNo sooner did one cross the threshold than\nMadame would proffer a box of chocolates or-\na jar of biscuits, or Cecchetti would pour out\na glass of Vermouth. Then he would talk"}, {"page_pdf": 17, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.17", "texte": "while Madame sat sewing by the fire ; and\npresently their cat, Mami, would scramble up\non the table and listen with eager ears and\nwise eyes.\nFew teachers can have been more loved\nby their pupils than was Cecchetti. He was\nalways ready to play father-confessor to them\nall. They sought his advice on both private\nand business affairs, and, leaning back, with\nhands together and fingers touching in the\nclassical pose of Sherlock Holmes marshalling\nhis deductions, he would deliver judgment\nlike a second Solomon. He was always plain-\nspoken and those who had not known him\nlong and sought his sympathy in regard for\nsome misdeed were speedily disillusioned.\nHis criticism on dancing was equally\nblunt. If a dancer's work pleased him he\nwould say \" C'est bien but if it did not,\nit was termed \" horrible ! \" He preferred\nthe technique of the classical ballet to all other\nstyles and deeply resented any attempt to de-\npart from its great traditions. 1 he various\nefforts made from time to time to direct cho-\nregraphy into new channels excited his deri-\nsion, as witness his reply to Diaghilev, when\nasked for his opinion of Nijinsky's production\nof Le Sacre de Prinkmps.\n\" I think the whole thing has been done\nby four idiots. First: M. Stravinsky, who\nwrote the music. Second: M. Roehrich, who\ndesigned the scenery and costumes. Third:\nM. Nijinsky who composed the dances.\nFourth: M. Diaghilev, who wasted his money\non it.\nSo far as work on the book was concerned,\nthe conversation was mostly in French, while\nI made my notes in English. Now and again\nCecchetti would be at a loss for a word and\ngive its equivalent in Russian or Italian which\nI could follow seldom. Things did not always\nproceed smoothly, for he had a quick temper\nand at the shortest notice would fly in such a\nrage that, literally, lightnings seemed to flash\nfrom his eyes. But the storm generally ended\nas quickly as it had begun, to be accompa-\nnied by a smile of such beauty that all diffe-\nrences were at once forgotten.\nSometimes, generally towards ten o'clock,\nhis head would nod and he would fall asleep;\nfifteen minutes later he would wake up and\n- calmly take up the conversation at the exact\npoint it had been broken off. One feature of\nthese evenings was a cup of black coffee made\nby Cecchetti himself, of such potency that it\naffected one like an electric shook.\nFrom time to time, in the explanation of a\nmovement, Cecchetti would recall the move-\nments of one or other of the countless dancers\nhe had known ; this would lead to anecdotes\nof some phase of his theatrical life which he\nwould relate with rare gusto. On such oc-\ncasions it was easy to imagine what magnifi-\ncent performances the actors of the Ccmmeaia\ndell'Arte must have given. A wink, a sniff,\na pursing of the lips, a scratching of the ear,\na tapping of the nose could, in his hands,\nsupply all the elements for the telling of a\ntale without words.\nAt this time he was a little below me-\ndium height and in figure not unlike a slighter\nversion of Mr. Pickwick. His back was broad,\nbut a little rounded. He had a fine large\nhead, fairly covered with white hair which he\nwore close-cropped. He was, however, some-\nwhat bald where the crown met the fore-\nhead. His plump, clean shaven features were\nthe colour of old ivory, save for a slight rud-\ndiness at the cheek-bones. His eyes were\nblue-grey, very bright and alert like those of\na bird, and they sparkled with a fatherly be-\nnevolence or a whimsical air of mockery, ac-\ncording to his mood.\nThe baldness 1 have mentioned seems to\nhave come upon him at an early age, for this\nis clearly shown in a photograph of him taken\nat the time of his performing in Amor. Pos-\nsibly it was the outcome of the continued\nwearing of theatrical wigs. This same pho-\ntograph shows him wearing a moustache as\ndancers did in those days.\nThe Cecchetti method of training having\nbeen committed to paper, it seemed to me\nmost desirable that some society should be\nformed to propagate it and explain its merits\nto dancers and teachers who might be inte-\nrested. 1 discussed the matter with a number\nof well-known British dancers who had been\ntrained in his school and in 1922 the Cec-\nchetti Society was formed. The committee\nconsisted of Margaret Craske, Derra de Mo-\nroda, Ninette de Valois, Jane Forestier,\nMollie Lake and myself, with Maestro and\nMme. Cecchetti as President and Vice-Pre-\nsident. The Society, which amalgamated\nwith the Imperial Society of Teachers of Dan-\ncing in 1924, is still very much alive and\nanyone who seeks justification for its existence"}, {"page_pdf": 18, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.18", "texte": "has only to study the record of its achieve-\nments.\nIt is rare that an artist has achieved\nworld-wide renown in more than one branch\nof his art, but Cecchetti was a fine dancer,\na mime of genius and undoubtedly the grea-\ntest teacher of the age in the technique of the\nclassical ballet.\nAs an artist he is best known in this\ncountry for the many roles created by him\nduring his long association with the Diaghilev\nCompany. How well one remembers his\nGrand Eunuch in Scheherazade, his Pantalon\nin Le Carnaval, his Kostchei in L'Oiseau de\nFeu, his Magician in Pe his Marquis\ndi Lucca in The Good-Humoured Ladies and\nhis Shopkeeper in La Boutique Faniasque.\nThe first was a doddering old man who\nwaddled to and fro, his fat pendulous cheeks\ncreased in a fatuous smile. Do you remember\nthe rapacious joy with which he fondled the\nmass of jewels which was the price of his\nreleasing the negro slaves; then his terror at\nthe return of the Shah, the rolling eyeballs,\nthe horrible writhings of his body as four of\nthe eunuchs choked out his life ?\nThe second was a brisk, agile, pompous\nlittle man in fawn coat and yellow trousers\nwith a single green stripe down each side;\nso conceited, so much a man of the world\nthat he suggested he had but to twirl his\nwaxed moustache to bring any lady to his feet.\nThe third was a mighty enchanter, with\nscaly limbs and claw-like hands ; a demon\npossessed of the power to turn to stone any\nthat dared to enter his domains.\nThe fourth was half-magician, half-show-\nman, v/ho caused three puppets to dance\nto the strains of his flute. Do you re-\nmember how cruel he was to Petrouchka,\nand how, when Petrouchka was killed by the\nMoor, he dispelled the growing suspicion of\nthe crowd that murder had been done, by re-\nducing the prostrate figure to a thing of wood\nand sawdust ?\nThe fifth was a nobleman of the eighteenth\ncentury, old and deaf, precise and courteous,\nwho walked a little unsteadily, possibly from\ntwinges of the gout. But his vision was never\nso dulled but what it lighted up at the spec-\ntacle of a rosy-cheeked maid or a dusty bottle\nof wine.\nThe sixth was a round figure in white\ndrill and panama hat, in turn obsequious and\nbullying to his customers, exciting their curio-\nsity by a hundred gestures and suggestions of\never greater marvels to come, the while he\nbounced from one to the other with all the\nresiliency of a rubber ball; the whole cha-\nracter was conceived in such a spirit of quaint-\nness and fun as to be inimitable.\n1 recall one very affecting occasion when\nThe Sleeping Princess, an adaptation of La\nBelle au Bois Dormant, was given at the\nAlhambra Theatre, London, on January 5,1922.\nOn that night Cecchetti appeared for one per-\nformance only in the part of Carabosse, which\nhe had created thirty-two years previously.\nThis was in celebration of the fiftieth anni-\nversary of his public career.\nSome days previously a deputation from\nthe company asked me to prepare for them\nsome brief address to Cecchetti which all\ncould sign. 1 planned a vellum scroll to be\nheaded with portraits in water-colour of Cec-\nchetti in his most famous roles, below this\ncame a short address, the precise phrasing of\nwhich I forget. The scroll was laid between\ntwo pieces of silk, the lower green, the up-\nper red.\nMy friend Schwabe painted the figures,\nwhile the text was written out by a scribe.\nAs soon as this was done the scroll was\nhurried to the stage-door of the Alhambra\nand with much secrecy signed by every mem-\nber of the company. The signatures were\nso many, and so interwoven and intercrossed,\nthat at first sight the scroll resembled a piece\nof black lace.\nAt the end of the second act, when Cec-\nchetti was taking his call, the curtain was\nraised and he was presented with many sou-\nvenirs of the occasion by his fellow artists.\nAt last the curtain was lowered and then a\nmoving scene was enacted. Imagine some\nhundred dancers grouped in a circle. In the\ncentre stood Cecchetti and opposite him one\nof the company v/ho read out a long speech\nin Russian, which set forth his history, his\ntriumphs, the love and honour they bore him\nas a great artist and kindly teacher and, last-\nly, their congratulations to him on that night\nof his jubilee. The old man listened with\nbent head then, as the words conjured up\nvision after vision of dancers ; some passed\ndown the long valley, some too old to dance,\nsome he had known as children and who\neven then were standing by his side ; his"}, {"page_pdf": 19, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.19", "texte": "eyes became dimmed and the rough texture\nof his grease-paint was furrowed by a hot\ntear. He was embraced, kissed by all, lif-\n~ ted shoulder-high and carried in triumph to\nhis dressing-room.\n• 111\nThe teacher's merit is proved by the\nquality of his pupils. Egorova, Karsavina,\nKshesinskaia, Lopokova, Nijinska, Pavlova,\nPreobrajenskaia, Sedova, Smirnova, Trefilova,\nIdzikowsky, Lifar, Massine, Nijinsky—all re-\nceived much or all of their training from Cec-\nchetti.\nin 1923 his health grew worse and he\ndecided to return to Italy. For several days\nthere were many sad leave-takings and one\nmorning he was gone. How empty London\nseemed for lack of that rounded figure.\nIn a little while he wrote to me. He\nhad been seriously ill but gradually his health\nhad improved, largely due to the devoted\nnursing of his wife. A few months passed\nand I received another letter telling me that\nhe and his wife were preparing to settle down\nin Milan, to live quietly and keep in touch\n- with their children who resided near them.\nI felt that it was most unlikely that he\nwould be able to forego his long association\nwith the theatre, which to him was the breath\nof life. Thus I was not surprised to learn a\nlittle later that he had accepted the post of\ndirector of the School of Ballet attached to\nLa Scala. From time to time some of his\nnew pupils would come to London always\nbringing good news of the old master. His\nhealth, however, occasionally gave cause for\nalarm for it appeared that now and again he\nsuffered from fainting fits.\nLast year he suffered a severe shock through\nthe death of his wife on October 23. This\nparting with the one he called '' the angel of\nmy life\" affected him greatly. Yet, although\nthe sense of his loss deepened with the pas-\nsing of each day, he continued to give his\nlessons. Now and again his thoughts would\ndwell on death and he would express a de-\nsire that he might die, as he had been born,\nin the theatre. His wish was granted.\nOn November 12 last, he left his home\nat 8 o'clock and v/ent to the Scala to give\nhis usual morning lesson, which began at 9\no'clock. At first, all went well; then some\nmovement displeased him and he cried : \" No!\nNo ! It is not so ! \" He protested, scolded,\nthen began to cough violently. His legs\ntrembled ana ne sank into a cnaw. He smi-\nled apologetically, gasped and fainted. A\ndoctor was called ; his sons and brother were\nhastily summoned. But as the stricken old\nman made no movement, he was taken to\nhis home. He never recovered consciousness\nand expired a little before dawn of the next\nday.\nCecchetti is dead, but his name and his\nteaching will endure so long as the art of\ndancing exists. Already many tributes have\nbeen paid to his memory. His pupils at the\nScala knelt in homage before strewing his\ncoffin with flowers. On November 13, the\nsad news was received by the Diaghilev\nCompany, then dancing at Manchester ; the\nsame evening when Lifar danced in Les Syl-\nphides, he wore a black scarf in token of the\ncompany's grief at the passing of their che-\nrished friend and teacher.\nFor the present there is none worthy to\nassume the mantle of Cecchetti. He was\none of those great artists who appear not\nonce in a generation, but only at rare inter-\nvals in the world's history of the theatre.\n\nA SILHOUETTE BY CHODOWIECKI."}, {"page_pdf": 20, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.20", "texte": "THE LIBRARY OF A\nCOMEDIAN ; J. P. HARLEY,\n1786 - 1858.\nBY PAUL Mc PHARLIN.\nTHERE was some surprise when John Prilt\nHarley, popular comedian, and reputed\nto be well-off, died without leaving a penny.\nBad investments and reckless speculation were\nthought to be the causes. But Harley was\na level-headed man ; he worked steadily and\nlived comfortably. If nothing remained, upon\nhis death, but his house and goods for the\nelderly sister who survived him, perhaps he\nhad been shrewder in the conduct of his af-\nfairs than people imagined.\nAuction catalogues of the effects of late\npersons reveal to public curiosity all too grate-\nfully the details of their living. That of\n\" the Excellent Furniture, Theatrical Prints\nand Portraits, the Literary ad Dramatic Li-\nbrary of Books, a collection of interesting\nAutograph Letters, Play Bills, Music and\nthe Private Wardrobe of Character Dresses\nof the Late J. P. Harley, Esq., at No. 14,\nUpper GoWer Street, Bedford Square, Sold\nby Auction by Mr. Rob :ns, on the Premises,\non Tuesday 23 November 1858, and Two\nfollowing Days, at Eleven for Twelve o' Clock,\nby Order of the Administrator \", is not a dis-\nappointing exception. Harley left no volume\nof reminiscences ; biography writers were con-\ntent to pass over this actor's life. But one\nmay turn to the 38 pages of this pamphlet\nand see the bare truth about him.\nWhat sort of a house was No. 14, Up-\nper Gower Street ? Doubtless one might ask\npermission of Sir Anthony Hope Hawkins,\nthe novelist and dramatist, who now lives\nthere (according to George H. Cunningham's\nLondon) to go through the rooms and gar-\nden, for there is a garden with a coach-\nhouse at its end, as may be seen in Hor-\nwood's Plan, plate 2c, down in the corner\n(Ihe Mcsk, volume Xll). It is the last but\none at the end of the street on the east side,\nand at the conclusion of the eighteenth cen-\ntury was still surrounded by open fields. But\nthat would be imposing on Sir Anthony\nHope Hawkins, and here is the catalogue to\ntell us of a basement with its front and back\nkitchen and larder, a ground floor with its\nstair hall, dining room and library (called also\nback parlour), its first floor with front and back\ndrawing rooms, its upper floor with front bed-\nroom, small back room, and back bedroom,\nits second floor with front bedroom, adjoining\ndressing room and back bedroom, and its attic.\nRather a large house for a bachelor and his\nsister who, I suppose, kept it neatly running.\nBut a house in which to entertain freely.\nThe furnishings were comfortable and\nold-fashioned, pieces in the Sheraton and\nEmpire style, most likely: \" a drawing room\nsuite in rosewood and blue Merino damask ;\n\" card, centre and occasional tables, chiffon-\n\" niers, suspending lamps, twelve capital -\nmahogany chairs in marone leather, set of\n\" extending dining tables, cellaret, two 5-feet-6\n\" mahogany glazed bookcases, a 9-feel pain-\n\" ted ditto, large Turkey and Brussels car-\npets, mahogany four-post and iron bed-\nsteads and bedding, wardrobe, marble top\nwash stands and the usual bed chamber\n\" articles & culinary requisites \", besides\nchimney glasses and a horizontal semi-grand\npianoforte by Tomkinson. To these were\nadded plenty of books, prints in frames and\nportfolios, Chelsea and Dresden figures,\noriental china, vases \" and nicknacks and\nsouvenirs of the stage. Very comfortable, yes,\nalmost luxurious.\nNo doubt of it Harley was of the cosy\nmiddle class ; one might expect just such a\nhome to belong to the son of John Harley,\ndraper and silk mercer. But John Pritt was\nnot enough his father's son to be long con-\ntent apprenticed to a linen draper. Nor did\nhe settle down as a clerk to a law fiim. Care-\nfully cherished play bills (bundled up,\nperhaps in lot number 243 : A large quan-\ntity of play bills, various; or pasted into 27 :\nAn album, containing critical reviews from\nnewspapers, play bills and benefit tickets) re-\nveal that his clerkly chores were livened from\n1802 onward by appearance at night in ama-"}, {"page_pdf": 21, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.21", "texte": "teur theatricals at the Private Theatre, 97,\nBerwick Street. On these bills may be seen\nthe names of Oxberry, Huntley, W. H. Wil-\nliams and Ellen Tree, ail of whom he later\nplayed with professionally.\nEncouraged by enthusiastic friends, he re-\nlinquished aspirations to the bar (with a sigh\nof relief) and set out to act in the provinces\nin 1806. Few playbills were preserved from\nthe ensuing nine years—at any rate none are\nspecifically listed in the catalogue—when Har-\n-ley received the thorough grounding in tech-\nnique, business and artistic, that assured his\nsuccess upon his return to London.\nThe following items now take up the\nstory:\n29. Folio books of music, Operas, &c. 6\n30. Four ditto Operas and 5 ditto mus-\nicstl Farces /\n31. The Art of Singing, by Crevelli, I;\nPreludes and Studies, I; Lanza's Ele-\nments, 1. and 5 books of music 8\n32. Seven books of manuscript music and\nsundry loose music\n105. Covent Garden Play Bills, seasons\n1805 to 1813 (wanting 1808), 7;\nHaymarket Bills, 1808-9, 27 and zB,\n3, and English Opera, 1815 to 18, 4 14\nOn 15 July 1815 Harley had made his\ndebut at the English Opera House as Mar-\ncelli in The Devil's Bridge, a woik by Ar-\nnold, the manager of the theatre. His slight,\nlithe figure (they had called him \" Fat Jack \"\nin the provinces) and his pleasing counter-tenor\nwith which he \" executed cadenzas with\ngrace and effect\" brought him favour. Du-\nring the remainder of the summer he acted\nand sang light comedy roles in the repertory\nand gained attention for his work.\nHe was now twenty-nine. His schooling\nhad ceased before he was sixteen, and the\nsubsequent years had been too busy for much\n-study. Assured of a more or less permanent\nstay in London, he felt that he could acquire\nthe books that weigh heavily in an itinerant's\nbaggage. And so he began to buy instruc-\ntive works, following them with zeal for a\n, period, then discarding them and beginning\nafresh. The self-educated man, whether or\nnot his learning count for more than that of the\nschooled, in the long run retains only what\nhe wishes to, and so is on a level with him\nwho went through the formalities of a well-roun-\nded curriculum.\nLet us see what informative things Har-\nley came by:\n1. Sharpe's Peerage, 2 ; Moore's Alma-\nnack, 1818 to 1831, 2; Imperial Ca-\nlendar, 27; Court Guides, 19, and\nBlue Books, 9 59\n2. Sundry school and other books 20\n4. Smith's Philosophy of Health, 2, and\n15 Medical, books, various 1 7\n9- Fliigel's German and English Dictio-\nnary, cloth 2\n14 bis. Fables de Florian, 1 ; Dizionario\nde Sinonimi, 2 parts ; Loudon's Dic-\ntionnaire Frangais, in numbers, and\nsundry French novels\n26. Ollendorff's Method of Learning\nFrench and Italian, 2 ; 6 Bvo and\n1 1 smaller books, bound 19\n51. Hone's Every Day Book, 2; Year\nBook, 1, and Table Book, 2 5\n53. Baretti's Italian Dictionary, 2 ; Grant's\nLatin Grammar, 1; Crabb s Syno-\nnyms, 1, and 4 others 8\n54. Laveaux Dictionnaire de Difficultes,\n2 ; Nouveau Dictionnaire Universel,\n2; Pybus' French Grammar, 1; Gram-\nmaire des Grammaires, 2, and Chefs\nd'Oeuvres of French Literature, 2 9\nThere are also the French dictionaries\nof Cobbett, Fleming and Tibbin, Dufief,\nDe La Voye, Chambaud, Boyer, D Alberti\n(this French and Italian), and Laudais, be-\nsides another Italian dictionary or two. It will\nbe seen that these were put to good use.\nHere are some more reference books (the\nlots sometimes baited with livelier matter) :\n55. Tarver's Phraseological Dictionary 2\nparts ; Brande's Dictionary of Science,\n1; Haydn's Dictionary of Dates, 1,\nand Latin Roots, 1 5\n65. Watts on the Mind, 2 ; Rolandi Tea-\ntro Italiano, 2 ; Hogarth's Musical\nLibrary, 2 ; Fugitive Pieces, 4, and\n21 French and other books, various 3 '\n85. Rollin's Ancient History, neat calf gilt 7\n86. Rollin's Roman History, bound to match 10\n87. Rollin's Belles Lettres, 3, and Arts\nand Sciences 3\nen suite 6\n88. Hume, Smolletand Adolphus His-\ntory of England, neat calf gilt 16\nThis title is italicized because it was pro-\nbably expected to bring a handsome price\nunder the hammer."}, {"page_pdf": 22, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.22", "texte": "89. Paley's Modern Philosophy, 2 ;\nMoore's Zeluco, 2, and Smith s\nWealth of Nations, 3 7\n111. Knox on Education, 2 , Mirror 3;\nParker's High and Low Life, 2, and\n4 others 11\n127. Crell and Wallace's Oracle of Health,\n6, and 5 Medical books, various 1 1\n1 33. The Encyclopaedia britonnica, Edin-\nburgh, 1823, 20, and Supplement 6,\nhandsome russia gilt 26\n134. Johnson's English Dictionary, 1785,\n2, russia, and Home Took's Divers-\nions of Purley, 1805, 2 parts, calf gilt 4\n135. Crab'o's Historical Dictionary, 2,\n1825, & Technological Dictionary,\n2, 1823, russia gilt 4\n136. Johnson's English Dictionary, by the\nRevd. H. T. Todd, London, 1818 4\nAnd a formidable array all these made\nupon shelves, but we are coming shortly to\nbooks that received more wear.\nOn 16 September 1815, we see by con-\nsulting the bound play bills, Harley made his\nfirst appearance upon the stage of Drury Lane\nas Lissardo in Mrs. Centilivre's Won-\nder : A Woman Keeps a Secret. In the cast\nwere also Messrs. Rae, Penley, Barnard,\nHolland, Gattie and Palmer, Mmes. Glover,\nOrger, Scott, and Miss Kelly, famous prin-\ncipally because Charles Lamb loved her.\nWith an occasional trip into the provinces,\nHarley now remained at Drury Lane until\nlate in the fall of 1835. He took over the\nline of business of John Bannister, who reti-\nred the year he came to the theatre ; the\ntwo were friends until Bannister died in 1836,\nleaving Harley a gold mourning ring for Da-\nvid Garrick (under whom Bannister had stu-\ndied) and a Shakespeare silver jubilee (1769)\nmedal mounted as as snuff box. These went\nas lot No. 518, and brought j£. 2-17-6 at\nthe sale in 1858. At the sa,me time he in-\nherited other mementoes of Garrick, to be\nlisted later.\nNow what were the dramas he read ?\nShakespeare he had in these editions :\n36. Shakespeare's Plays, London, 1623,\nwith portrait, half bound 1\n95. Knight s Pictorial Shakespeare, ele-\ngant calf gilt 8\n128 bis. Johnson and Stephens' Shakes-\npeare, 1793, elegant 15\n130. Reed's edition of Shakespeare, 1813,\nhandsome calf gilt, formerly presented\nto Edmund Kean by the Honourable\nDouglas Kinnaird 21\nHow modestly the first folio is recorded,-\neven without the italics of the showy more\nmodern editions! Collectors had not then\nmade first folios articles of commerce; they\nwere read by those who liked to read\nShakespeare. That was only seventy years\nago. I have seen half a dozen first folios go\nup at auction during a New York season,\nbringing higher and higher prices. When\nthese unhappy trafficked-about volumes are\nnot in the auction room they are under glass,\nor even the steel of safes, symbols of value\nlike paper money.\nTo resume:\n\\24. Beaumont and Fletchers\nelegant 1 Q\n125. Jonson's Works, by Murphy, elegant 12\n94. Massinger's Plays, 4; M. G. Lewis'\nPlays, 2, and Jackson's Scottish\nStage, 1 7\n16. Congreve's Works, 3; G'Keefe's\nDramatic Works, 4, and Burgess'\nRichard 1., 2 9\n6. Goldoni, Commedie 25\n42. Oeuvres de Moliere, 1 ; Whig\nClub, 1, and Helvicus' Theatre, 1. 3\n62. Opere del Moliere, 2, and 23 tomes\nof French Novels, various 25.\n33bis. A quantity of French plays\n79. Oxberry's New English Drama, neat\nhalf bound 20\nThe dictionaries, then, were for Goldoni\nand Moliere, and perhaps for an occasional-\npuzzling expression in one of the tomes of*\nFrench novels.\nOf books on the theatre, if we include\nactors'biographies in the class, he had notafew:\n* 7. Theatrical Observer, 1821 to 1840,\ncloth, 20, and 1842 to 1850, 9, in\nnumbers, and Dramatic Musical Review,.\n1842 to 1850, 9, in numbers 38\n13. Memoirs of Charles Mathews, 4; of\nJohn Bannister, 2, and of Elliston, 2,\nneat cloth 8\n(Mathews and Bannister were both\nhis good friends).\n18. Uncle Tom's Cabin, 1; Michael\nArmstrong, 1 ; Alnwick Castie 1 ;\nSadler's Correspondence, 2; The Life\nof Macklin, 1; Thespian Magazine, 2,\nand 2 others 10"}, {"page_pdf": 23, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.23", "texte": "52. Biographia Dramatica 5\n68. The Drama, 7; Gil Bias, 4, and\n1 7 books, various 28\n70. Random Records, 2; Hill's Home\nService, 2; Schiller's Robbers, &c.,\n1 ; Bland's Proverbs, 1, and Sheri-\ndan's Dramatic Works and Life, \\ 7\n77. Collier's Annals of the Stage, 3;\nBernard's Retrospections of the Stage,\n2; Calvert and Mansell on the Dra-\nma, 1, and Davies' Life of Garrick, 2 8\n81. Reminiscences of Dibdin, 2; Life\nof Reynolds, 2; Recollections of\nO'Keefe, 2; Boaden's Life of j. P.\nKemble, 2; Mrs. Siddons, 2, and\nMrs. Jordon, 2, half bound calf gilt 12\n91. Peter Pindar's Works, 3; Records\n■j of My Life, by Taylor, 2; Aristar-\nchus, I ; Lempriere's Biography, 1 ;\nLiterary Museum, 1 ; Hazlitt's English\nStage and Poets, 2, and Cooper's\nPoems, 1 1 1\n109. Memoirs of Tate Wilkinson, 4, and\nWandering Patentee, 4 8\n3 39. Garrick's Private Correspondence,\nLondon, 1831, elegant half bound gilt 2\n143. The Royal Dramatic Record, with\nplates 1\n553 bis. Papworth, Sculptural Designs,\ncloth; G. Cruickshank's Sketch Book,\ncloth, and 2 parts; Scenic Effects of\nCovent Garden Theatre, ! 4 nos.;\nand 13 illustrated numbers, various.\n(,Recollectionscf Scenic Effects\nof Covent Garden Theatre during\nthe Season 1838-9, by George\nScharf, scenographer, records the set-\ntings and groupings at that theatre\nduring the managership of Macready,\nwhen Harley was one of the com-\npany).\nBut this last volume, indicating that our\ncomedian's interest in the theatre did not stop\nat drama and acting (though it's the only vo-\nlume of the sort) takes us ahead of the tale.\nThe years at Drury Lane would have\nbeen disastrous for an actor not capable of\nworking out his own artistic salvation. Under\nthe management of Kean all emphasis was\nplaced upon the star. Elliston, who succeeded\nhim, let every actor work out his own part,\nproviding he properly subordinated himself\nto the star and kept to the traditions. Price,\nLee, Polhill and Bunn are the names of\nfollowing managers under whom laxity and\nheedlessness increased. Drury Lane lost\nmoney, put on claptrap and spectacles, imi-\ntated from the small theatres unlicensed to\nproduce straight drama, and still lost money.\nThe decadence of the drama was bewailed ;\nmelodrama and burlesque were patronized.\nPeople always shun the dead theatre and flock\nto the live.\nThings had come to such a pass that\nHarley left Orury Lane at last and joined\nthe St. James, a new theatre built for opera,\nbut enabled by license of Lord Conyngham\nto give legitimate drama. His first appea-\nrance there was made 14 December 1835.\nThe new theatre did not prosper; Dickens\nfurnished it with two pieces that failed.\nHarley and Macready knew each other\nfrom meeting on the stage, at the Garrick\nClub, and at public functions. Macready\nnotes in his diary that in May 1833 (the\nyear Harley became a personage upon suc-\nceeding Edmund Kean as master and trea-\nsurer of the Drury Lane Theatrical l und),\n\" Harley called by appointment to talk over\nthe state of the profession \". No doubt this\nentailed a grave shaking of heads and harking\nback to the good old days, but both were men\nwilling to dp more than talk. Macready had\nno personal attachment for Harley; the epithets\n\" fool \" and \" thing \" are put down against him\nin the diary, and in March 1834 this sour passage\noccurs: ''How truly disgusting to hear men\n\" like Mr. Mathews and Mr. Harley requiring\nrespect for a profession which they in their\n\" speeches as leading members prove to be\nstored with ignorance, vulgarity and charlata-\n<! nism \". Of course Macready could quarrel\nwith the angels. And Harley was not much\ndrawn to Macready. But on 20 April 1836,\nin a meeting with Farren and Macready, he\noffered to give £ 500 toward the drama's\nregeneration; the actors were to band toge-\nther against incompetent management. No-\nthing came of this plan. However, it gives\na clue for the fact that Harley died leaving\nlittle money.\nNow we catch up with the last item in\nlot No. 553 bis. Harley went to Covent\nGarden in 1836. Macready had assumed\nits management with noble intentions and\nthe support of drama lovers. He made real\ninnovations in handling groups of actors;, he-\nsaw that work was done at rehearsals, and tooK"}, {"page_pdf": 24, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.24", "texte": "a stand as purist for Shakespeare's texts and\nhistoric accuracy in costumes and settings.\nAs spokesman for the company, Harley pre-\nsented him with an engraved salver as a\ntoken of their regard for his championship of\nthe drama, 31 May 1838. On 7 June he\npersonally offered financial assistance to Ma-\ncready, a more substantial tribute, for the\nrunning of the theatre, but was refused,\nAgain on 12 April 1839, Macready writes,\n\" Mr. Ha rley called, and with much Weeping\noffered to be security for the payments of\nmy offered £ 2000, as lessee of Covent\nGarden Theatre. I thanked him, but told\nhim I was engaged elsewhere \".\nHarley, then, had saved up a little money,\nand he was only too eager to gamble it for\nthe good cause. Meanwhile he spent a\npound now and then on literature:\n5. Childe Harold, 1; Hunt's Poetical\nWorks, 1, and 31 books, various 33\n8. Maddox's Travel's in Turkey, 2;\nD israeli's Literary Characters, 2 ;\nNational Tales, 2; Mrs. Hall's Sket-\nches of Irish Character, 2, and 5 others 13\n35. Chaucer's Works, 1721, 1, and Jon-\nson's Works, London, 1691 1 2\n(T wo fine folios, these 1)\n40. The Rambler, 1751, vellum 2\n43. Sterne's Works, 7; Pope, 2; Prayer\nBook, i, and Book of Psalms, 1 1 1\n38. Southwell's Bible, 1, and Hewlett's\nHoly Bible, part 1, vol. 1, 4to 2\n19. Common Prayer Book, 1; Psalms,\n2 copies, blue morocco; Bible, 1,\nand Viner's Psalmody, 1 5\n49. CEuvres de Rousseau, calf gilt, plates 38\n66. Swift's Works, 27 vols., wanting\n4 and 5 25\n(What graceless friend had borrowed\nvolumes 4 and 5 ?)\n74. Milton's Poetical Works, 4, neat\ncalf gilt, and Cabinet of polite lite-\nrature, 5, half bound calf gilt 9\n96. Pope's Works, neat calf 10\n97. Don Quixote, 2, and Gil Bias, 1,\nroyal Bvo, elegant calf gilt 3\n102. Chesterfield's Letters 2\n108. Boswell's Life of Johnson, 5 ; Me-\nmoirs of Foote, 3, and Foote's\nWorks, 2 10\n110. Junius' Letters, 2; Lyric Muse, I;\nHudibras, 1; Burgoyne's Works, 2,\nand 4 others 10\n(Burgoyne was a playwright as well\na general.)\n1 !4. Johnson's Edition of the Poets, 58,\nand Johnson's Prefaces, 10, neat\ncalf gilt 68\n115. The Spectator 8\n116. Gibbon's Roman Empire 12\ni 19. Sir Walter Scott's Novels and\nTales, 12, Novels and Romances, 7 ;\nHistorical Romances, 6 ; Tales and\nRomances, 14, and Introduction to\nthe Waverly Novels, 2, elegant 41\n120. Scott's Prose Works, 6, and Lock-\nhart's Life of Scott, 4, elegant 10\n121. Scott's Poetical Works 10\nHarley knew Dickens well. On 27 June\n1837 he dined at Dickens' house, and Ma-\ncready commented, \" Our evening was very -\ncheerful, and we laughed much at Mr. Har-\nley's theatrical efforts to entertain \". At the\nSt. James he saw Dickens' The Village Co-\nquettes (1836) and Is She his Wife? (1837)\nfail. On 12 December 1838 he helped de-\ncide that The Lamplighter be rejected by\nCo vent Garden. Whether Dickens presented\nhim with these copies of his books one can-\nnot say, but at any rate they were purchased\ndamp from the press :\n69. Dickens' Christmas Works, 4, cloth ;\nPictures from Italy, 1, cloth. (There\nwere books by ethers in the lot.)\n76. Oliver Twist, 3; Sketches by Boz,\n2 ; second series, 1, and Boz's Life\nof Grimaldi, 2, boards 8\n(Had Harley as a young man been a\nGrimaldi devotee ?)\n122. Dickens' Pickwick Papers and Ni-\ncholas Nickleby, 2, morocco gilt,\nand Dombey and David Copperfield,\n2, cloth 4\n132. Humphrey's Clock, illustrated, 3,\nroyal, cloth gilt, and Pickwick Pa-\npers, ditto, 1 4\nAll of Harley's books (f or his library was\nnot the display sort) were not significant nor\nclassic. Some he bought for the pictures, ■\nand some because they took his fancy :\n39. The Royal Rake, by Rede cloth 4to I\n33. The Aboriginal Portfolio, by Lewis,\n9 parts\n46. Cabinet des Fees 41\n107. Flowers of Literature, 4, and 3 others 7\n1 17. Marryat's Poor Jack, illustrated, 1,\nand The Pirate, illustrated, 1 2"}, {"page_pdf": 25, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.25", "texte": "123. Heath's Book of Beauty, 1833 to\n1837, 5, and The Keepsake, 1833-\n5-6, 3 8\n129. Heath's Picturesque Annual, 1837,\n1; Book of Beauty, 1838, 1, and\nThe Keepsake, 1838, 1, large pa-\nper, gilt leaves 3\n„ 141. Hogarth's Work, by Nichols and\nSteevens, fine plates, London, 1808,\ncalf gilt 3\n149, A large folio album of coloured\nFrench costumes, caricatures, &c.\nIn 1839 the management of Covent Gar-\nden was taken over by Mme. Vestris and\nCharles Mathews, Jr., and Harley stayed on\nwith them. This management continued gi-\nving attention to staging, and Planche, who\nhad invented burlettas for Vestris during her\nreign at the Olympic, slaved over historical\ndetails in costume. The style of acting\nbrought by Vestris from the small Olympic\nwas naturally subtler and more restrained than\nthat which had prevailed in the huge Covent\nGarden. Did Harley, natural comedian that\nhe was, become aware for the first time\nthat his methods were a little old-fashioned?\nDid he feel out of place with the new natu-\nralism ? At any rate, he went back to Drury\nLane for 184! -48, under the management of\nuninventive Mr. Bunn, and just missed playing\nin the new sort of comedy written by Dion\nBoucicault.\nBut he was sharp enough to see the turn\nacting had taken, and tempered his moderate\nstyle a few shades down. When he came to\nthe Princess Theatre in 1850, where Charles\nKean was taking his hand at doing jus-\ntice to Shakespeare, and outdoing all his\npredecessors in costuming him with accuracy\nto time and place, Harley's acting was thought\nto be perfectly unlaboured. John William\nCole, in his Life and Theatrical Times of\n• Charles Kean (1859) writes, \" It was impos-\nsible to feel dull when Harley was on the\nstage. No actor, not even Munden or Lis-\nton, ever excited more genuine laughter \".\nBy gift from his cronies or by inheritance\nthose who went before him as officers\nof theatre societies, Harley came by these\npriceless records. Are they now safely\nhoused in the British Museum, or do they\nhide in a private collection ? :\n145. The Pay Ledgers of Covent Gar\nden Theatre, from 1776 to 1787, i\nwith the weekly salaries and auto-\ngraph receipts of the different Ac-\ntors and Actresses during these pe-\nriods, folio, green vellum 10 books\n146. Ditto from the year 1787\nto 1797 10 books\n147. Ditto from the year 1797\nto 1808 10 books\n148. A ditto from 1822 to 1825, and the\nCast Book of the Olympic Theatre\nduring Madame Vestris' management.\nThese sets of play bills too, I hope,\nhave been removed from the perils of an in-\ndividual's ownership :\n236. Play bills of the Princess's Theatre,\nfrom 1850 to 1858, in bundles.\n237. Ditto, 1850 to 1857 ; a packet of\nWindsor Castle play bills and sundrv\nplay bills.\n238. Drury Lane Theatre play bills, 1812\nto 1840, bound, 27 vols., and 1845\nto 1847, 2 vols.\n239. Covent Garden Theatre ditto, 1813 to\n1841, bound, 28 vols.\n240. English Opera ditto, 1819 to 1838\nbound, 14 vols.\n241. Haymarket ditto, 1804 to 1839 (want-\ning 1807, 20, 27 and 28) bound,\n18 vols.\n242. St. James Theatre ditto, 1836 to 1838,\nbound, 3 vols., and Provincial Theatrejs]\nditto, 1810 to 1830, bound, 1 vol.\n243. Drury Lane Theatre bills, 1845, in\nbundles, Haymarket ditto, 1847-8, and\na quantity of play bills, various.\n244. Haymarket Theatre bills, from 1844 to\n1853 (wanting 1845-6), and Lyceum\nditto, 1849 to 1854, in bundles.\n250. Haymarket Theatre play bills, 1844 to\n1857 (wanting 3 seasons); Drury Lane\nditto, various, 3 bundles; Covent Garden\nditto, various, and Lyceum ditto, 3 bun-\ndles, various.\nAs one sees by lot No. 236, Harley\nstayed at the Princess for eight years, and\nbecame fixed in the public's mind as a player\nof Shakespeare's clowns. His lightness of\ntouch, learned from the days with Vestris\nand Planche (who burlesqued life, rather than\ndramatic forms, as had the older school from\nFielding to Kane O'Hara), served him in\ngood stead. The era of gaudy declamation\nwas passing. Audiences transferred their af-\nfection to character portrayal—the queerer,"}, {"page_pdf": 26, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.26", "texte": "quainter and more grotesque the better. Har-\nley was an elderly bachelor with mannerisms\nand perhaps an eccentricity or two, very char-\nming to be sure. On the stage these gave\nhis characterizations just the right touch, for\nhe knew just when to fall into them. Of his\nTouchstone, Grumio and Launcelot, a con-\ntemporary critic said, \" Their quips and their\nquiddities, their gibes and their cozenings,\nalways obtain in his speech their right aptness\nand flavour, and gain in his looks their en-\ntire illustration—that double expression which,\nas it lights up the meaning, reveals the\nenjoyment\".\nWe approach the end of Harley's life,\nand of his library there remain only the prints\nand sketches to look over. Of himself Harley\nhad a number of likenesses:\n186. A fine painting of Mr. J. P. HARLEY\nby GEORGE CLINT, in handsome orna-\nmented gilt frame\n187. A pair of ditto character Portraits, of\nMr. Harley as Caleb Quotum and\nCharles Young in The Stranger, gilt\nframes\n199. An oil painting, Portrait of Mr. J. P.\nHARLEY, by G. CLINT, gilt moulded\nframe\n207. Two water colour character drawings of\nJ. P. HARLEY as Marcelli, in the Devil's\nBridge, and Lesardo [Lissardo] by\nDE WILDE\n210. A coloured miniature Portrait of J. P.\nHarley and 4 small character prints of\nditto, framed and glazed\n214. Three water colour Portraits of Mr. Har-\nley as Jack Phantom, in frame, glazed\n158. Eighteen impressions of the Portrait of\nMr. J. P. Harley in The Strange Gen-\ntleman\nAnd there are others. But from his\n. walls, well covered with pictures, looked\ndown other faces than his own:\n163. A fine proof print of The Kemble Fa-\nmily in Henry VIII.. after Barlowe\n166. A ditto of Bannister and Parsons in\nthe Village Lawyer, and a pair of ditto,\nGarrick as Richard 111. and Abel\nDrugger\n168. Two Character prints, Scenes from the\nBeggar's Opera and Children in the\nWood\n169. A ditto print of H Grace the Duke\nof Devonshire and a coloured print of\nthe Duchess of Devonshire (The house\nof Devonshire, from Shakespeare's time,\nhas interested itself in the theatre; the\npresent Duke possesses many scene de- '\nsigns, including work by Inigo Jones).\n173. Two ditto of Miss Duncan and Miss\nMellon, and a ditto of Charles Dickens\n176. Three Theatrical prints of Liston, Charles\nYoung and Macready, and a coloured\nditto of C. B. Cotton\n177. Three prints, Portraits of Quick. Elli-\nston and E. Forrest, and 2 ditto of St.\nJames* and St. Giles' Beauties\n180. A very fine plaster bust of Mr. J. P.\nHarley, by Sconler, 27 inches high, on\nhandsome scagliola verd antique pedestal,\n34 inches high\n181. A ditto bust of Mrs. Charles Kean, by\nDexter, 28 inches high\n183. A water colour Character drawing of\nListon as Gabey Grim, by DE VLTA\n184. A ditto drawing of Munden as\ncus, by DE WILDE\n185. A ditto of Gatlie as Mons. Moibleu,\nby DE WILDE\n188. A pair of Prints, Portraits of Miss\nO'Neil and Edmund Kean\n189. Two prints of IV. H. Betty and a\nditto of H. P. Bishop\n190. A pair of prints, Charles Kemble and\nthe late Charles Mathews, a ditto of -\nJohn Bannister and a ditto of J. Munden\n193. A print of the Prince of Wales, as\nColonel of Hussars, and a ditto of the\nDuke of Sussex\n195. Four circular prints, The Sailors De-\nparture and Return, &c.\n209. A fine water colour Portrait of Quin as\nFalstajf, 1743\nA ditto drawing of the late Charles\nMathews in the Woodman, by DE WLLDE\n215. A pair of lithograph prints, Views; 2\noval ditto and Portrait of Adrienne Le-\ncouvreur, framed and glazed\n216. Testimonial, with autograph signatures of\nthe performers at the St. James Theatre, ;\n1837 and 8, gilt frame, glazed and a\ncircular medallion of the Seal of Drury\nLane Fund\n218. An exquisite pen and ink drawing of\nNapoleons Tomb at St. Helena, taken\non the spot, 21 April 1828, by Captain -\nII Fabey, 67th Regiment, showing the\ncelebrated Weeping Willow, purchased"}, {"page_pdf": 27, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.27", "texte": "at Barry O'Meara's sale, framed and\nglazed on both sides.\nThere were, in lots No. 221-230 pack-\nages of autograph letters from \" celebrated\nTheatrical Characters \", \" Musical Compo-\nsers, Authors, Professional Notables and\nForeign Artists \".\nIn the front drawing room were to be found:\n333. A pair of fine old Chelsea China figures\nof Shakespeare and Milton, 11 inches high\nIn the back drawing room:\n380. A fine full length bronze of NAPOLEON\nBONAPARTE as First Consul, on pedestal,\nornamented with ormolu, 28 inches high.\nAnd in the dining room this toy:\n400. A group of 14 curious terra cotta Chi-\nnese figures, on rosewood inlaid pedestal,\nwith musical movement, and glass shade.\nHarley had a collection of snuff boxes\nand canes, most of them probably presented\nto him on special occasions. But of his me-\nmentoes I list only these:\n513. A gold enamelled locket, with lock of\nMrs. Sarah Siddons hair, with autograph\npresentation letter (It brought a guinea).\n521. A silver gridiron of the Drury Beef-\nsteak Club and a silver curb guard\nchain (This brought £ 1 -3- -)\n522. A lock of Charles James Fox's hair and\n4 mementoes from Mrs. Jordon's, Talma's\nand other tombs. (This went for 7 shil-\nlings—a proper protest against chipping\ncorners from monuments).\n524. A Very beautiful miniature on ivory of\nMiss [Ellen] Tree, (i) in case, mounted\nin ormolu (Had Harley ever been in\nlove with this lady? Had her answer\nto him enforced his bachelorhood?\nHere an auction catalogue reveals nothing.)\n525. A gold ring, presented by Edmund\nKean, and a gold intaglio ring (The\nminiature and this lot brought £ 2 each).\n529. A masonic . jewel, belonging to /. IV.\nEdwin, the comedian, a lock of King\nCharles I.'s hair, also of Lord Byron &\nLord Nelson, with authentic testimony\n(£ 2-12--)\n530. Several Autographs of George 111., Wil-\nliam IV., Victoria Regina, Napoleon /.,\nMarie Antoinette and other illustrious\npersonages (Had these British monarchs\nall written to Mr. Harley? Presumably\nthe French had not. Someone must have\ngiven the autographs to him; I cannot\nimagine that he spent his money this way.)\n531. A part of the Shakespeare Mulberry-\ntree at Stratford-on-Avon, formerly be-\nlonging to Garrick, with his seal, a ditto\nbust of Shakespeare, carved from the\nMulberry-tree, and piece of Old Drury\nStage, on which Gar rick often trod\n(£ 1-4--)\n219. Mode/ of the Temple to the Dramatic\nMuses, erected at Stratford-upon-Avon,\nin which was celebrated the jubilee\ngiven by David Garrick in honour of\nShakespeare, 1769 (The items in these\ntwo lots, with the jubilee medal mounted\nas a snuff box, came in direct succession\nfrom Garrick through John Bannister to\nHarley).\nLots 555-615, Harley's stage costumes,\nare fascinating—but I cannot possibly include\nthem in his library, And now little remains\nto be told. On 20 August 1858, upon\ngoing into the wings after playing Launcelot\nGobbo at the Princess Theatre, Harley was\nseized with a stroke of paralysis. He was\ncarried home to Upper Gower Street. His\nelderly sister tended him. Recovering some-\nwhat, he quoted Shakespeare, \" I have an\nexposition of sleep come upon me\". He\nsaid it with his accustomed jocularity, inten-\nding to wake up for tea. But his friends,\nears open for a last utterance, exchanged\nglances over the bed. They had heard what\nthey were listening for. Harley died 22\nAugust. Six days later he was buried at\nKensal Green.\nAs for the fortune that years of diligence\nshould have gained ?\nWell, books and prints aren't cheap.\nDinners for one's friends cost something.\nAnd these:\n553. Eight bottles of Claret, 3 ditto of johan-\nnisberg Hock and 2 ditto of Mountain\n554. Twenty-eight bottles of Elder wine and\n6 ditto of Grape wine\n449. A quantity of empty wine bottles & ditto\nMoreover, a man who offers to go secu-\nrity for £ 2000 in the interests of the\ndrama will do as much for his associates,\nand actors form a needy profession. These\nmatters are not recorded. There should be\nno mystery that comedian Harley died leaving\nonly his library.\n(i) Mrs Charles Kean."}, {"page_pdf": 28, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.28", "texte": "SOME EXTRACTS FROM\nTHE PRACTICE OF MAKING\nSCENES AND MACHINES\nIN THEATRES\n(BOOK TWO).\nNICOLA\nSABBATTINI DA PESARO.\n\nCHAPTER 41, HOW THE RAINBOW\nOR CELESTIAL ARCH MAY BE\nMADE TO APPEAR.\n(I)\nWHEN it is necessary, during the Inter-\nmezzi, to make a Rainbow appear,\none can first make use of the same method\nas is described in the preceding chapter <2^; that\nis, adopting one of those sections, in the po-\nsition where it will be most apposite, one\ncan set a strip of linen (3) coloured like a\nRainbow, causing it to move in the same way\nas the clouds, and to disappear in the same\nway; and by this means one will have ac-\ncomplished what is requisite. No further de-\nmonstration is here required, since the in-\nstructions already given respecting the clouds\nwill suffice.\nCHAPTER 42, HOW TO CLOUD\nOVER PART OF THESKY BEGINNING\nWITH A SMALL CLOUD, WHICH\nEVER INCREASES IN SIZE, CONTINUALLY\nCHANGING IN COLOUR.\nTHIS last method of clouding over a part\nof the sky, even if it appear to be dif-\nficult, yet seems to me to be the most beau-\ntiful, and the most marvellous of all those\ndescribed above : but one cannot do this save\nin one clearly defined part, and that is in the\nmiddle, in correspondence with the concavity\nof the sky.\nTo accomplish this one will have to make\neight or ten cylinders of wooden staves, which\nare at least a foot in diameter and which\nmust be exactly equal in length to the ope-\nning of that part of the sky which one wishes\nto cloud over.\nOne will then set at either end of each\na wheel two inches thick, and of the same\ndiameter. The wheel must be indented.\nThe Cylinders are to be covered with\ncanvas, and must be arranged on the ground,\none touching the other, just as they are to be\nin the sky, so that the painting can be rightly\nadjusted.\nFor this work the Painter ought to have\nhad some experience dello studiato (1) as the\nsaying is, since he must net only colour them\non the one side so that they blend with the\npart of the sky already executed, but repre-\nsent the clouds on the other side.\nThus, in the first cylinder, which, ought\nto be set towards the back part of the stage,\nshould be the beginning of a little Cloud.\nThen, in the others, other clouds, which ever\nincrease in size, and continually change colour\nas in Nature.\nThe Painter's part being accomplished,\nthe cylinders must be adjusted in the space\nof the Sky, as has been said, in such away\nthat they can turn easily on their pivots, which\nare to be fixed upon two pieces of wood set\nabove the convex of the sky, one on each side.\nThen lengthwise, above the indented\nwheels, one must set, on the other side, a\ngrooved wood, which must be very smooth,\nand also very firm': this must be a little wi-\nder than the thickness of the wheels, and\nhollowed out to a depth of at least four in-\nches, in each of which grooves one will set\na strip of wood with indentures corresponding\nto those of the wheels adjusted above them,\nso that, in proportion as these strips of wood\nrun along, so will the wheels girate.\nThese strips of wood ought, moreover, to\nbe longer than the grooves, and a little thic-\nker than the cylinders, and so adjusted that,-\nby means of this length, one can cloud over\nthat part of the Sky, and also cause the\nClouds to vanish and the Sky to be once\nagain as before.\nLet the indented wheels A. B, and C. D.\nbe set at the ends of the cylinders, and let\nE. F. be the piece of wood in which the\n\n(1) Published at Ravenna in 1638.\n(2) See The Mask, April 1926, Vol. XII.\n(3) Tela may be taken as either linen or canvas.\n(i) Some practical experience!\n\nFigure 1."}, {"page_pdf": 29, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.29", "texte": "pivot G of the wheel A. B. and the pivot\nH of the wheel C. D. are fixed ; and let\nI. K. L. M. be the groove which takes in\nfour inches of the wheels together with the\nindented length of wood N. O. which is\nfixed in such wise inside the groove that its\nteeth lock with the teeth of the wheels ; and\nlet the men stationed above the Sky be at\nthe point P. on the side of the spectators, and\nat the point Q on the opposite side.\nAt the time appointed the man who was\nset at point P will slowly draw towards him\nthe indented length of wood, so that at the\nsame time the wheels will rotate, and conse-\nquently the cylinders also, as has been said;\nthus when the end of the wood N reaches\nR, the other end O will be at N, and the\nsides of the cylinders A. D. will be in B. C.\nwhich are painted with clouds.\nOne will act in the same way when\nwishing to reverse this action; but, when one\nwishes that the clouds should run along and\ndisappear, as in most cases naturally happens,\none will arrange that the person set at point\nP. does not stop drawing the indented wood\nat R as was said above, but continues as far\nas S., so that the sides of the cylinders B,\nC. will return to A. D. as they were at first,\nand the clouds will disappear, the Sky retur-\nning to its pristine state.\nThe same is to be understood to apply\nto the other ends of the cylinders, two only\nhaving beendrawn so as to avoid confusion ;\nbut one will apply the same rule to as many\nothers as shall be required.\nCHAPTER 43, HOW A CLOUD MAY\nBE MADE TO DESCEND STRAIGHT\nUPON THE STAGE WITH PERSONS\nINSIDE IT(1).\nSHOULD it be necessary to cause a Cloud\nto descend straight down upon the stage\nwith persons inside it, one will follow this rule :\nA grooved upright must be made, composed\nof two beams, equal in length to the distance\nfrom above the sky to beneath the stage; and\nlet these be of a good thickness, that is to say,\nnine inches, or at least four; in these make\na swallow-tail mortise, which must be very\nsmooth, and half a foot deep and the same\nwide ; then one will adjust this in a suitable\nplace behind a partition, strengthened by tie-\nrods fastened to the wall, and being perpen-\ndicular to the Horizon line.\nAfterwards one will adjust in this another\nbeam of the same thickness, or rather less,\nso that it can run with ease in its groove ; this\nbeam must be six or seven feet in length.\nHaving done this, one will fix, at the end\nof the said beam, by means of good linch-\npins, another piece of wood of the same\nthickness, the length of which must be equal\nto the distance at which one shall wish the\nCloud to rise above the stage, nailing, more-\nover, on the side where the Cloud is to be\nset,... that is at a distance of two and a half\nfeet,... another piece of wood, which is to be\nof such length as to reach from the end of\nthe said foot and a half to the bottom of the\nbeam which was set in the groove, fixing it\nwell in that part also with linch-pins, as was\nsaid in regard to the former; and these lengths\nof wood will form a right-angle triangle.\nThen, at either end of the beam which\nwas set in the groove, fix an iron ring, and\nlet these be of a good thickness, so that they\ncan support the weight not only of the cloud\nbut also of the persons who must be set upon\nit, both in lowering the said cloud and in\nwithdrawing it once more to its place. And\nin each of the aforesaid rings a piece of very\nstrong rope must be tied ; that above is to\nbe passed through a strongly fixed pulley-\nwheel, placed above the Sky and perpendi-\ncular to the said grooved beam. Passing the\nend over this pulley and drawing it down-\nwards, one will wind it round a ')\nwhich must be set underneath the stage at\nthe end of the grooved beam ; and the one\nend of the other rope will be tied to the\nlower ring, so that its other end will be\nwound round the windlass in the opposite\ndirection from the first, so that when the\none is winding on the other in the same\nproportion will be winding off.\nThe Cloud must then be made, of the\nright size, and properly strengthened with\ncross-bars of wood and with hoops, so that\npersons may take their places in it safely and\nconveniently; it must be covered with linen,\npainted as naturally as possible, and strongly\nnailed to the end of the arm of wood which\nwas set in position for that purpose.\n\n(i) A note from Giorgio Vasari's 4 Lives of the Painters \"\ndescriptive of a JSuvole or Cloud, is given on page 168.\n(i) mandrel: (in lathe) axis to which work is fixed while\nturned. Concise Oxford Dictionary."}, {"page_pdf": 30, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.30", "texte": "Having accomplished all this, a slit must\nbe cut in the Sky at the point where the\naforesaid grooved beam meets it, so that the\nwood which supports the cloud may pass\nthrough conveniently; and it must be made\nlengthwise to the level of the stage, so that\nthe cut may not be seen.\nAt the foot of the length of wood already\ndescribed one must fasten a piece of canvas,\nwhich must be equal in length and breadth\nto the cut, and must be coloured like the\nSky : another piece must likewise be arran-\nged from the upper part, one edge of it being\nfastened in the Sky and the other to the other\nend of the aforesaid length of wood. When\nthe cloud is lowered this piece of upper can-\nvas will also be lowered, hiding the cut ;\nand the other lower part will descend, the\ncut being always closed ; the contrary taking\nplace in the ascension, so that in this way\nno opening will be seen, taking heed, howe-\nver, that the Cloud is to be hidden in one\nof the sections.\nIn causing this cloud to rise one will set two\nor four men at the windlass, who must lower or\nraise the cloud, according as shall be required.\nLet the grooved upright support be com-\nposed of the two beams A. B. and C. D.\nand the length of wood set inside it be E. F. ;\nand let G. E. be that which must support\nthe cloud, and H. I. the other piece of wood\nwhich must serve for securing the weight.\nLet these pieces of wood be pegged (I) to-\ngether, in H. E. and F. in such away that\nthey may form a right angle within the groo-\nved upright in E. And let the cloud be set\nat the extremity G. in I.\nSet the first iron ring at the extremity of\nthe piece of wood E. F. in E., in which tie\none end of a rope which passes through the\npulley K. in such away that it comes to\nterminate in the windlass L. M. in N, with\nso many turns and at such a distance that it\ncan lower the cloud from above the Sky\ndown to the level of the stage.\nAfter this, in the other extremity of the\npiece of wood, F, one must set the other ring,\nand tie to it one end of another rope, which\nmust terminate in the said windlass in O ; and\nlet the men be set at the handlebars P. Q.\nWhen you wish the cloud to descend they\nwill turn the windlass so that the end of the -\nrope F. O. may be wound on to the wind-\nlass, and the other E. K. N. may be un-\nwound in the same proportion; and thus,\nwhen F. shall be in B. the cloud will be\nupon the level of the stage R. S. in T.\nIn making it then return to its place the ,\nwindlass must be turned in the opposite di-\nrection, and thus all that has to be done will\nbe accomplished.\nCHAPTER 44, ANOTHER METHOD\nBY WHICH ONE MAY MAKE A\nCLOUD DESCEND TO THE STAGE\nWITH PERSONS WITHIN IT.\nSHOULD one wish to make a cloud, with\npersons inside it, descend in another man-\nner on to the stage, it can be done in the-\nfollowing way.\nTwo gargami(grooved beams) will be\nmade as has been already shown in the pre-\nvious chapter; but with this difference, how-\never ; that, in those, the channel was cut\nin swallow-tail shape, and these are to be\nwithout this ; that is, the jointure is to be straight,\nbut clean and smooth, according to what was\nalready said ; and, in height, they must reach\nfrom the level of the auditorium above the Sky,\nand one will be set on either side in line\nwith one of the sections of the Sky prepared\nfor that purpose; setting them far enough behind\nthe scenes, so that they cannot be seen by\nthose out in front; and let them be secured by\ntie-rods built into the walls and perpendicu-\nlar to the horizon line.\n\nFigure 2.\n\n(x) Incavigliare, to peg or pin. Baretti's Dictionary."}, {"page_pdf": 31, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.31", "texte": "A cross piece of wood will then be adjusted,\nas long as the distance between the one gar-\ngame and the other, and with so much over\nthat it may project a foot at either end, and\nmade in such away that the ends of the\nwood may run easily in the said gargami.\nIn line, then, with the ends of the said\ncross-beam, which run in the mortises, there\nmust be set on either side another piece of\nwood of the same thickness and two feet\nin length, which is to be fixed into the lower\nside so that the main cross-bar may not turn,\nas might easily happen owing to the weight\nof the persons, who are not always in per-\npendicular position.\nHaving adjusted the aforesaid matters one\nwill set above the Sky, in a straight line\nwith the upright beams, a pulley wheel on\n• either side; through which a good strong\nrope must be passed, of which one end is\nto be tied round the main cross-beam on\nthe inner side, near the upright beams, and\nthe other, passing through the said pulley\nwheels, is to come down and be wound\nround the ends of a cylinder which must\nbe one foot and a half in diameter, and\nrather longer than the distance from one\nupright beam to the other, which must be\nset beneath the stage, and adjusted in such\naway that the ropes which pass over the\npulleys are perpendicular to the said cylin-\nder, adjusted with its pivots so that it can\nbe turned with facility.\nThen, facing the centre of this, one will\nset a capstan with sufficient space on either\nside so that the handles can turn. This\n.capstan must cause the said cylinder to turn\nby means of a good thick cable, half of which\nis to be wound round the cylinder with as\nmany turns as shall suffice to wind out the\nropes, which will be tied to the cross-bar\nbetween the two upright beams, the other\nend passing round the capstan.\nThe cloud must then be constructed be-\ntween two pieces of wood, and must be long\nin shape, so that the two ends of the wood\nmay not be seen. At the time when the\ncloud has to be lowered by four, or more,\nmen, as may be required, the capstan must\nbe turned, so that, in proportion as the cable is\nunwound from the cylinder, so will the cords\nbe let out which were wound round the enas\nof the said cylinder, and consequently the\ncloud will descend with the personages upon it.\nBut, in the event of there being many\npersons, more men can be set at th capstan,\none always being set in line with it to guide\nthe cable so that it may not get over-laid\nand the capstan may not unwind.\nIn making the cloud reascend one will\ntnrn the cylinder in the opposite direction,\nbut, to do this, there must be as much rope\non the windlass as on the cylinder, so that,\nas the one winds off, the other shall wind on.\nLet A. B. and C. D. be the two groo-\nved beams set perpendicularly to the horizon,\nand let them be secured so that they may\nnot move. Let F. G. be the cross-beam\nupon which is constructed the cloud E. and\nlet it project one foot beyond the upright\ngrooved beam on either side, as is A. F. on\none side and C. G. on the other. Then, at\nthose parts of the said cross beam which\npass through the upright grooved beams A\nand C. let there be set pieces of wood of\nthe same thickness and two feet long, as is\nseen in A. H. and C. I. Then let the pul-\nleys K. L. be set above the sky in a straight\nline with the cross beam F. G. at M. N.,\nat which points let one end of each of the\nropes M. N« be tied, which ropes then,\npassing through the said pulleys K. L., come\ndown and are wound beneath the stage round\nthe cylinder O. P. in Q. and R. And in the\nmiddle of the cylinder, in S., one end of the\ncable will be wound with as many turns as\n\nFigure 3."}, {"page_pdf": 32, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.32", "texte": "will suffice to let the cloud descend to the\nstage, and the rest of this cable must pass\non to the capstan T., a person being set at\nV to guide this cable so that it may unwind\nthe capstan, but also so that it may not get\nentangled with the other part of the cable which,\npassing round the capstan, winds around the\ncylinder, while the first end unwinds, the men\nbeing set at the handles X. Y. and Z. etc.\nWhen it is desired that the cloud should\ndescend the men will turn the capstan many\ntimes until the part of the cable whish was\nfirst wound round in it, unwinding from the\ncylinder, causes, proportionately, the parts of\nthe ropes Q. R., which sustain the cross-bar\nof the cloud, to unwind also, until this has\nbeen lowered to the destined spot.\nIn making it subsequently reascend to its\nplace the capstan must be turned in the op-\nposite direction the same numbe* of times,\nso that by this means that which was to be\ndone will be accomplished.\nCHAPTER 45, HOW ONE CAN\nLOWER A CLOUD WHICH, FROM\nTHE EXTREME BACK OF THE SKY\nADVANCES TO THE MIDDLE OF\nTHE STAGE WITH PERSONS\nUPONIT.\nWHEN it is necessary to make a cloud\ndescend, which, commencing from\nthe extreme back of the sky, comes for-\nward to the middle of the stage with persons\nupon it, one will act in the following man-\nner ; always assuming, however, that behind\nthe scenes, in line with the back of the sky,\nthere is a convenient space, and of about\ntwenty feet at least.\nTake a good beam, twenty-five feet in\nlength, which must serve as a lever, and at\nthe centre must be set a support or rest well\nsecured with barbicans or props and an iron\nstaple. The support must be made with a\npiece of beam thicker than the lever and is\nto be set perpendicular to the horizon, fas-\ntened into the floor of the auditorium in line\nwith the back part of the sky and rising four\nfeet in height above the level of the stage, but\nso far back that it may not be seen by those\nout in front. The lever must then be fixed\nabove it, adjusting it in such away that it\nmoves without difficulty.\nAfterwards, at a distance of ten feet from\nthe support and at a height of twenty feet,\none will set a pulley, if possible of metal, so\nthat it may be secure, and able to support\nthe weight. This should be set plumb above\nanother of the same size and strength which\nmust be set below, three feet above the le-\nvel of the sala, which must serve as guide\nfor the cable of the capstan, which will be „\nset in line with the said pulley, as far to one\nside as shall be must convenient for the cap-\nstan, so that those who turn the handles can\ndo so without impediment.\nThen take a good thick cable, and let it\nbe very secure, so that it may not, by giving\nway under use, occasion any accident.\nOne end of the cable will be firmly tied\nto the extremity of the lever, on the side\ntowards the back of the sky; and, passing\nthe other end through the pulley, which was\nset above the sky, let it, in coming down-\nwards, pass through the other set below, for\ntaking the turn towards the capstan.\nThen at the other end of the lever, that\nis, on the side towards the spectators, a cloud\nmust be constructed, which will be set upon\ntwo pieces of wood of suitable thickness,\nwith perches, on which the persons who\nare to be placed upon it may be secure.\nWhen the cloud is completed, the end\nof it is to be set above the end of the lever,\nbalanced between the two pieces of wood in .\nsuch wise that, in no matter what way, either\nhigh or low, the lever be moved, the cloud\nalways remains perpendicular to the horizon,\nso that, while it should be lowered forwards,\nthe persons who are upon it should not fall dow-\nnwards, and also so that the lever be not seen. -\nAs has been already said, this cloud,\nmade in this manner, will not be able, in\nbeing lowered, to emerge from the sections\nof the sky, but will come straight forwards,\naccording as it shall have been installed.\nIn the sky an opening must be made, si-\nmilar to the cloud but a good deal larger, so\nthat, descending with ease and without impedi-\nment, it can issue from the sky, and, retur-\nning upwards, can reenter.\nThis aperture must always be closed again\nwith a piece of sky constructed upon a little\nframework of thin pieces of wood, which\nmust be as uniform with the sky as possible,\nboth in colour and in conjuncture; and so\nthat, when the cloud shall have emerged\nfrom the aperture, and the flap is raised, no-"}, {"page_pdf": 33, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.33", "texte": "thing irrelevant may appear, the inner part\nwill also be painted like the outer. Then,\non - the other side of the lever, a weight is to\n*be set, which must outweight the cloud and\nthe persons upon it so that this end of the\nlever may keep down of itself, notwithstand-\ning the weight of the persons or cloud.\nWhen this operation is to be performed\nthere must be set at the handles four or eight\nmen, by whom the capstan will be slowly\nturned, so that, in like degree, the cloud will\nbe lowered until it rests upon the level of\nthe stage. Then, in making it again return\nupwards, they will work the capstan the op-\nposite way, until the cloud has returned to\nits original place, taking care that there be\nalways a man behind the capstan, as was\nsaid in regard to the other operation, and\nbearing in mind that the men who have to\nturn the capstan to make the cloud rise must\nbe very attentive, because the cloud would\nrise of itself on account of the greater op-\nposite weight.\nLet the support be A. B. secured with\n, the props or stancions A. C. and A. D. (and\nmore should they be required), and let E. F.\nbe the lever with its centre poised in A.\nsecured with an iron brace, in such a man-\nner that it can be easily lowered or raised ;\nand let G. be the pulley set above and H.\nthe other one below, and let 1. be the cap-\nstan : let the cable be tied to the extremity of\nthe lever F., and let this pass over the pul-\nley G. and come down to the other pulley\nH. turning then towards the capstan 1.; and\nlet the other end be held by a person set at\nK. and let the framework which closes the\naperture of the sky from which the cloud S.\nis to emerge be L.\nWhen the cloud is to be lowered, those\nmen who were set above the sky for the\npurpose must first make the framework L run\nalong to M. so that in that instant the place\nwill open whence the cloud is to emerge ;\nthen at the same time the men below will\nslowly turn the handles N. O. P. Q. of the\ncapstan I until the extremity of the lever F\nhas risen to R. with the result that the cloud\nE. will be lowered in S. upon the level of\nthe stage T. V.\nIn causing it to return subsequently to its\nplace the capstan will be turned in the op-\nposite direction until R. has returned to F\nand the cloud S. will be again in its proper\nplace E. : then the framework M. must be\nimmediately run along to L. in this manner\neverything will have returned to its right place.\nBut should there not be a capacious space\nbehind the scenes as said above, there must\nbe built into the centre of the back wall, at\na height of four feet from the stage, an iron\nbracket very strongly secured, in which must\nbe fixed one end of a good beam equal in\nlength to the distance from there forwards to\nthe point at which the cloud must descend.,\nand it must be of sufficient thickness to sup-\nport the weights both of the cloud and of\nthe persons who must be placed there upon ;\nand it must be set in such a manner that the\nsaid beam can be easily moved up and down\nas much as shall be required..\nBesides this, in the aforesaid wail and in\nline with the bracket, at a height little more\nthan half of the said beam, one will set a\ndevice or pulley with two pulley wheels which\nmust be well built in and secured to the wall.\nAfterwards another similar runnel is to\nbe set with two pulley wheels.\nHaving done this, there must be placed\nbeneath the stage, at a height of two feet\nfrom the floor of the auditorium, one single\npulley wheel which must be set in a plumb\nline with the one above which was built into\nthe wali, having to serve as guide for the\ncapstan, which must be set beneath the stage\non the side towards the spectators, to the one\nhand or the other as shall be most convenient.\nThe cloud will be constructed at the end\nof the length of wood as was said in descri-\nbing the previous method.\nThen take a strong cable, and, tying one\nend of it in an iron ring which must be set\nat the base of the upper runnel, pass it over\nthe first pulley wheel which was set in the\nwood, and, doubling back through the first, set\nabove, bring it down, into the second, be-\n\nFigure 4."}, {"page_pdf": 34, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.34", "texte": "low in the wood, and, passing again through\nthe second into the one above, bring it down\nagain, and make it pass through the pulley\nwheel set as a guide to the capstan, pulling\nit taut and winding it round the capstan.\nIn operating it the aforesaid rule is to be\nadhered to, as was stated above respecting\nthe first method ; bearing in mind that, should\nmany people take their places on the cloud,\nso that the said force should not suffice to\nmake the cloud reascend after having been\nlowered, more men must be set at the capstan,\nor else the pulley wheels must be multiplied\nboth below and above ; but there will be a\nlittle difficully in lowering it, owing to the\naltered proportion of the power to the weight,\nas is demonstrated in the Mechanics of the most\nillustrious Signor Guido Übaldo dal Monte.\nBut in this event a little help may be\ngiven by a person who, standing behind the\ncloud, pushes the wood forward, so that,\nbeing set somewhat in motion in this way,\nit can then be lowered perfectly well. In\nmaking it reascend the capstan will be tur-\nned the opposite way as has been said above.\nLet the level of the auditorium be A. B.\nand the wail behind the scene C- D. and\nthe iron Stirrup built into it be E. at a height\nof four feet from the level of the stage F. G. ;\nand let the wooden cross bar be H. E. and\nthe cloud H. and the runnel I with two pulley\nwheels built into the wall C. D. in I and\nthe other runnel in the wood with other two\npulley wheels in K. Then let the other single\npulley wheel L be be secured in the wall\nC. D. under the stage at a height of two feet\nfrom the level of the auditorium; and let the cap-\nstan be M with the person N who is to serve\nto control the cable. Then let one end of the\ncable be tied to the base of the runnel {\nand pass through the first pulley wheel set in\nthe runnel of the wood K., which, returning\ninto the first pulley wheel in I, passes back into *\nthe second in K. and, passing again into the\nsecond in 1., comes down into the pulley\nwheel L. which was set as guide to the\ncapstan, as was said, winding round the same\ncapstan M. wiih as many turns as shall be\nnecessary. And let the cloud be construc-\nted in H. In making it descend the same rule\nis to be observed as was given above in res-\npect to the other method, and so also in\ncausing it to reascend, because, as the run-\nnel which was set in the wood K will be\nin O, the length of wood E. H. will be in\nE. P. and the cloud H will be upon the\nlevel of the stage F. G. in P. Likewise\nwhen O. shall have risen to K., P. also will\nhave risen to H. as was intended.\nNOTE ON \"NUVOLE\"\nGiorgio Vasari gives an explanation of the term\n\" Nuvole \" or Clouds in his life of 11 Cecca, which\nthrows much light on the subject :\nA square frame was made of planks about two hraccia\nhigh, with fyur strong legs at the angles, which were\nbound fast together beneath after the manner of trestles;\nacross this frame were laid two planks, each one braccia\nwide, and having an opening in the centre, half a braccia\nin diameter, from which arose an upright pole supporting\na Mandorla, entirely covered with cotton wool, amidst\nwhich were angels, lights and other ornaments. In this\nthere was an iron fixed across, whereon was placed, seated\nor standing, as was desired, a person who represented that\nsaint whom the Brotherhood in question principally ho-\nnoured as their advocate and protector ; whether it were\nthe Saviour, the Madonna, St. John, or any other Saint, .\nthe vestments of the figure concealing the iron in such\nsort that it was not seen.\nTo the pole which supported the Mandorla were\nfastened four or more iron bars, serving in the manner of\nbranches to a tree ; they were fixed around and beneath\nthe Mandorla, and to these irons were secured little chil-\ndren clothed to represent angels, who were free to move\nat heir pleasure on the bracket supporting their feet,\nwhich was formed with hinges in a manner suited to that end.\nBy means of such branches three or four circles of\nangels or of saints according to the subject represented,\nwere at times exhibited.\nThe whole of this structure, which sometimes repre-\nsented a Lily, sometimes a Tree, but most frequently a\nCloud or something similar, was concealed by the cotton wool,\nand was occupied, as se have before seen, by cherubim,\nseraphim, etc., .or covered with gold stars and other ornaments.\nThe stairs for ascending these structures and every\nother part being covered, as we have said above, with\ncotton-wool, a very fine effect was produced, and all\niheae contrivances were called \" Nuvole (Clouds).\n\nFigure 5."}, {"page_pdf": 35, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.35", "texte": "PARIS, 1928.\nA SHOW AND THREE\nMAGAZINES.\n\nRETURNING from France I find in my lug-\ngage three magazines not \" for favour\nof review \" but bought by me last month.\nThey are \" L' Amour de I'Art \" (iOfrs.);\nLe Masque \" (fr. 1.50) and the souvenir of\nthe \" Folies Bergeres: 1928: La Grande Folie.\"\nSixieme album. (10 frs.).\nFOLIES BERGERES.\nA T the first glance one would say some\nwould say that this \"Amour de l'Art \"\nwas stuff for the high brows. The Folies\nBergeres Album one would throw away and\ncall Tosh. \" Le Masque as its so named\nand is the first number, one would caress,\nhoping to find it what Le Masque in any\nlanguage should be. It is unfortunately nothing,\nand there an end : and my concern is with\nthe \" L'Amour de l'Art \" and Folies Bergeres:\nNow for a shock.\nIf you'd believe it, it is the stage of the\nFolies Bergeres which is packed with high\nbrow stuff: and it is the stalls and the pro-\nmenade which were packed with high-brow\npeople when I was there ten days ago.\nYou'll suppose 1 report incorrectly, but\nthis is a fact.\nI was in the promenade and surrounded\nby men of all nationalities but mostly French-\nmen. One and all took it all dead-seriously,\nfollowing every note of the music, every bit\nof the show, and each gesture of every figure\nas though these things were by Bach, by Bi-\nbiena, and by a group of performers composed\nof Duse, Bernhardt, Ellen Terry and Rachel.\nI have never before seen such intensity,\nsuch wrapt solemnity before a piece of ordi-\nnary bon theatre smeared over with a lot of\n\" artisticness \".\nThe show was slick no one could deny\nthis. It was top-hole, Al : but somehow it\ndid not seem to me to call for such grave and\nearnest faces as the five hundred around me\nwore. Their gravity made me merry.\nAs I looked at them 1 realized that it is\nthese people who are the only high-brows :\nie, folk who stand wrapt and speechless be-\nfore a jolly old vulgarity served up in a pom-\npous solemn manner.\nWhat a lark !\nHighbrow's, yes, they exist right enough;\nbut you've all got it wrong ; you've spotted\nthe wrong people again.\nThe highb row isn't the young poet with\nlongish hair and with brains: the highbrow is\na tough looking chap, a quite ordinary looking\nfellow, a real man in the street. In fact Jones,\nSmith and Robinson are the highbrows.\nThe show at the Folies Bergeres was a\ncompound of all the old stuff, the true et de-\ncors, of the last sixty years with some of the\ndiscarded notions of the New Movement plas-\ntered on them. With this a rather exagge-\nrated display of naked and semi-naked women.\nSmolinska should be spoken to : that red\nrag of hers is repulsive. Colette Jove is sweet\nand lovely and will be spoken to. Jonescu is\na delight: and the modern little Mile. Halina\nDorsowna is delicious to her finger tips.\nKomarova, Skibine and Gretchikine are\nclever.\nMontel as Nicolas is, it goes quite without\nsaying, masterly, his sense of rhythm perfect.\nThe Dodge Twins are a trouble. 1 mean it\nwell. I think they are two of the handsomest\nwomen the stage has seen for years; but they\ntry to do things, and they do them fatuously ill\nwith consummate skill. They twitter like no\nBirds ever did or want to, and they do the\nsplits to slow music and they turn pure Folie\ninto lugubrious highbrow rubbish. Where do\nthey hail from ? Don't tell me from the Land\nof the Free.\nLast, but almost best, come Randall and\nMiss Alice Meva. What a vitality she is\nhe too: but he hadn't the difficult choice to\nmake of \" legs or tights \". She had, and she\nplumped for tights, what a stroke of ge-\nnius, ie. what sound common sense.\nBesides this she dances and sings and\ncarries on with a charm which is as young as\nit is clever, as graceful as it is precise.\nL'AMOUR DE L'ART.\nAS for L'Amour de l'Art, t'is a good\nserious publication which avoids the\nexcessive gravity of the Folie Bergere.\nIn the number which I bought'T- was an\n\n(i) We hope to see some more numbers of this magazine.\nEditor."}, {"page_pdf": 36, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.36", "texte": "excellent article on the bridges and hangars\nt < O t3\nbuilt by M. Freyssinet, which are not only\nlovely things but serve useful purposes,\nAnother article is on Lisa Duncan, pupil\nof Isadora Duncan. She is a good dancer,\nbut the writer of the article gets off the lines\nand begins to write of her as la sculpture\nVerifide. We must write of a dancer as a\ndancer and not connect her with sculpture, for\nthat way lies nonsense and trouble too... and\nleads at last to Folie and high-browism.\nAn article on Picasso as stage designer\n111* . O,\nshould interest every one in any way puzzled\nby the developments in this branch of stage\nwork. One sees that Picasso has not quite\ncaught the notion that the theatre is the book\nfor those who don't read, — who neither can,\nor have time to read.\nIt's an old label this, but one which mo-\ndern stage designers of sense might ponder a\nlittle more often.\nTo make a costume so fantastic that it\nsays nothing is to miss the mark, and Pi-\ncasso's costume for \" Un Manager de Parade \"\nmisses the mark. His idea of Le cheval\n' de Parade' \" being a comic interpretation\nof the old comic stage horse of the last four\nhundred years, hits the bull's eye. Yet it\nwas this horse which aroused such a storm of\nprotest: really rather idiotic protest, since it\nhad been accepted and even tired us a little,\nthis aged horse, four hundred years old.\nThe notes on the work of Picasso say,\namongst other excellent or daft things, that\n\" the able use of perspective by Picasso gave\nan impression of added depth to the stage\nset, which is something new in theatrical de-\ncoration, \"\nIt Was something new about the year 1550,\n— it was new to the stage but old, even\nthen, to the painters : so what the writer, M.\nRaymond Cogniat, can mean we can but guess\nat; he don't make himself sufficiently clear.\nIn an interesting article on Sculpture and\nRomanticism M. Luc Benoist quotes a pas-\nsage from Proust's \" amazing preface to Rus-\nkin's Sesame and Lilies. \" An interesting\nquotation (is the preface translated into Eng-\nlish, by the way?) and runs thus: \" It is\nthe spectators who are romantic. Masters\n(even so-called romantic masters) are always\nclassic, \" which makes me want to read more\nof M. Proust, — except, after so satisfying a\npiece, what more could one want.\n\np. b.\n\nTWO DRAMATISTS.\n\nA GREAT NAME FORGOTTEN.\nI cannot often feel as I felt but yesterday\ntowards the writer of one of the best short\nplays of the century,—really 1 might say the\nbest without more hesitation.\nThe work was so perfect, it did so great\nan honour to our stage because of this, that,\nreading it, I felt immensely pjoud of all thea-\ntres, of all acting, of all its audiences, of all\ndramatists, and nothing was lacking to my\ndelight.\nThat there was very little to feel proud\nof in our Theatre, least of all its faults, did\nnot occur to me, for I was carried awav.\nThe writer of this play had taken on him\nthe sins of the others ; he had given them\nabsolution. And no longer did you all ap-\npear guilty of anything ;—but oh, how ridi-\nculous you suddenly became, for I realized\nthat here was and is the Dramatist of the\nage, and he still waiting to hear a single\nround of applause, and damme, again you've\nforgotten your cue.\nHere was and is one who knows better\nthan any other the value of the word, the\npause, the turn—the almost silent voice,\nthe clear incisive speech, the halting perfect\nhesitating sounds, the gestures, every one of\nthem; the little tricks and the deeper serious\nunder-tricks, and then the best of all things,\nthe long swelling under-current which goes\non and reaches into all sorts of caverns of\nthought and feeling ....all this and more. His\ntechnical mastery perfect, and spirit all as\nperfect. And this you never noted; this\nyou may have seen and not realized; this\nyou may even have made overtures to—\nthrough a penny whistle from Hammersmith\nor Hampstead or the East Indies.\nAnd I felt towards this writer once again"}, {"page_pdf": 37, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.37", "texte": "the old respect which almost all other mo-\ndern dramatists had killed in me at every play\nthey issued, such blundering, theatreless men\nthey are, such contempt for the stage is\ntheirs, and his such love of it: and so it is\nthat I felt the deepest respect a man can\nfeel for all writers, but because of this one\nmost honourable work.\nA SMALL NAME OVERLOOKED.\nAND today as I turned the pages of a fa-\nmous journal I came across an announce-\nment of a Theatre and I read that a play\nwould be performed, and that it was \" Lon-\ndon's greatest success \", and I saw not a\nword said as to who was the writer, the au-\nthor of this comedy. I was thunderstruck,—\n- rather offended—and I only a producer of\nplays, not a playwright.\nWhy no word to tell us the name of this\nwriter of this famous play ?\nI turned to ten other numbers of the same\njournal and looked for the advertisement of\n. this play. There it flared, but still no name,\nnot even the initials of its author. So it\nwasn't an accidental omission ; it was a de-\nliberate blunder committed without forethought\nor after-thought.\nI was left in wonderment that this author\n. should not be considered worth naming, this\nauthor of \" London's Greatest Success....\nAN OPPORTUNITY.\nWHAT, after all, does such an omission\nmatter when we have suffered to see the\ngraver slight to the best living English dra-\nmatist ?—one who has done his work better\nthan any others have done theirs, and who\nby my calculation must therefore be given\nthe laurels.\nDo you ask me to name him?\nSurely not.— why should I ? You have\nnot recognized him for yourselves and he is\nat no pains about that; and I for my part\nhave no wish to create an awkward situation.\nBesides, you would not admit I was cor-\nrect ; to spite your face you would cut off\nyour nose and you would pour out all your\nconventional arguments on me, and I should\nonly be drenched by your arguments without\nbeing in the least convinced.\nBut those of you who are good honest\n\\\nfellows at the game will admit that, if this\nwriter's work has been done perfectly, and\nif this play, as you will have to admit, is\nreally a faultless sample, (and it's only a\nsample), ....you will also admit that this is\nreally the stuff you've been wanting, clamou-\nring for, and for lack of which the theatre\nhas gone bare. Then why not go to the ma-\nnufacturer of it, to this dramatist, and ask for\na dozen rolls of the material and once again\nclothe our theatre and dress our stage.\n\nE. G. C.\n\nTOWARDS PERFECTION.\n\nHOKUSAI SPEAKS ON NEARING EIGHTY.\nHokusai.\nFROM the age of six, I had the passion for drawing\nthe forms of things. By the age of fifty 1 had pub-\nlished an infinity of designs ; but all that I produced be-\nfore the age of seventy is of no account. Only when I\nwas seventy-three had I got seme sort of insight into the\nreal structure of nature—animals, plants, trees, birds, fish,\nand insects. Consequently, at the age of eighty I sha!l\nhave advanced still further; at ninety, I shall grasp the\nmystery of things : at a hundred. 1 shall be a marvel, and\nat a hundred and ten every blot, every line from my\nbrush shall be alive !\n\nAND AT NINETY.\nHokusai\nFROM the age of six I began to draw, and for eighty-\nfour years I have worked independently of the schools,\nmy thoughts all the time being turned towards drawing.\nIt being impossible to express everything in so small a\nspace, I wished only to teach the difference between ver-\nmilion and crimson lake, between indigo and green, and\nalso in a general way to teach how to handle round shapes\nand square, straight lines and curved ; and if one day\nI make a sequel to this volume, I shall show children how\nto render the violence of ocean, the rush of rapids, the\ntranquillity of still pools, and among the living beings cf\nthe earth, their state of weakness or strength. There are\nin nature birds that do not fly high, flowering trees that\nnever fruit: all these conditions of the life we live among\nare worth studying thoroughly ; and if 1 ever succeed in\nconvincing artists of this, I shall have been the first to\nshow the way."}, {"page_pdf": 38, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.38", "texte": "WALDTEUFEL\nD. P.\nSOME things are pretty dreadful on the\nGramaphone, others defy it. And\nteufel is one of them.\nIf for this fact alone I sincerely trust that\nthe latest edition of the 44 Dictionary of Music'\n(not sent for4 favour of review' to 44 The Mask\"\noffice) has improved upon its 1911 reference\nto the great Waldteufel.\nHe was then given but nine lines, and\nhis loveliest thing, the immortal Skaters' waltz(I),\nwent unmentioned.\nAssuredly the Victorian era, when Grove's\nDictionary of Music was planned, Was without\nall sentimentality: no more feeling age but\nwould have devoted at least two pages to\nthis composer of waltzes.\nI would devote a whole book to this waltz\nalone it should be called 44 The Devil of\nthe Forest I would write romance after\nromance, three hundred and sixty-five romances\nfor the three hundred and sixty five days of\nthe year, ...spring romances and autumn ones,\nthose of summer and that of winter. This\nsweet wailing thing should bind the whole\ntogether, and I would give away my novel\nwith every disc sold of the 44 Skaters' Waltz \".\nIt is as good as Strauss: I even love it\nbetter than Strauss's best.\nWaldteufel, born in 1837, is excluded\nfrom the histories of Music which I possess,\nand I find him in none of my four Biogra-\nphical Dictionaries. So, for all I know, he\nmay happily be still living. Emil Waldteufel\nis his full name and he was born December\n9th 1837 in Strasburg, so he would be ninety-\none years old now.\nHis other waltzes I do not know; but for\nthis one waltz alone I would give him all the\norders of the late German Empire.\nI sought for his name and portrait in that\nadmirable Album issued by Flammarion called\n44 Le Second Empire\", 1851-1870, and felt\nsure of finding him there, for he was appoint-\ned pianist to the Empress Eugenie. It does\nnot appear so admirable to me now, for no\nword or view of Waldteufel is to be found\nin it. Yet Bressant is there, and Capoul,\nTamberlick and Halevy, Auber and Victor\nMasse, Ambroise Thomas and Felicien David;\nand if these, why not the great Waldteufel?\nfor Cora Pearl and Anna Delion are there\ntoo. Well then.\nIf instead of being an unknown scribbler\nliving in one of the Courts of Fleet Street I\nwere Mr. Arnold Bennett, my words here\nwould first of all be brighter, my efforts surer,\nand, what is more, 1 should revive an interest\nin my great composer.\n1 feel certain that Bach, Beethoven and\nMozart if living through these days, while\nthey might fidget at Debussy, would assuredly\nnod the head at Waldteufel.\nWith all the faults he has a supreme virtue.\nWhat is it ? The indefinable unless one\nhappens to be a Mr. Bennett.\nHe is touching, big, a sentimentalist, (not\nMr. Bennett, Waldteufel) ; but all the more\ntouching for that; and all I know is this; as\nthe strains flow out one says 44 Yes, lovely\n...lovely\nWhat's wrong with Waldteufel then for\n1928? The precise must tell us, and I for\none won't listen to them.\n(i) Number in Gramaphone Catalogue S. 8844.\n\nMR. GORDON CRAIG\nAND BRITISH OPERA.\nAN OFFER TO SIR THOMAS BEECH AM.\nMr. Gordon Craig has sent to \" The Mask \" the follow-\ning \" Open letter \" to Sir Thomas Beecham.\nAS a slight sign of appreciation of the work which you\nhave done for the British Theatre, I would like to-\noffer you a contribution to your present scheme in the form\nof the mise-en-scene, with designs, for any one British\nOpera that you may select to present on the completion\nof your plan to establish British Opera once and for ever\non a sound basi*.\nMy offer is made on one condition only—that the\nentire scheme be British, and be allied to no foreign per-\nsons or purposes whatever. I make the one condition be- -\ncause 1 believe that this is the sole way to secure success.\nWhen Englishmen shall have united to establish at home a\ntheatre as strong as that of Reinhardt in Germany and of\nStanislawski in Russia, it will be time enough for us to let\nour attention be diverted with talk of the internationalism\nof art, for we shall have made safe what is at present in\ndoubt—the British contribution to that internationalism\".\nSir Thomas Beecham says :\n•• I think, it is a very important contribution to the\nsubject, but 1 have not had time to give that considered\nreply to it which I think the letter deserves. In principle\nI agree with everything Mr. Gordon Craig has said."}, {"page_pdf": 39, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.39", "texte": "BRITISH PRONUNCIATION\nA LOW FORM OF TREASON.\nA well-known singer whose songs are spread from one end\nof the British Empire to the other through the gramaphone\npronounces the words You've got me every time\nlike this\nYou've gort me every toime.\nSo is the British speech being made cheap and nasty.\nTOIME\nthe popular way of saying\nTIME\nDOING\nfor\nDYING\nCan it be stopped ?\n3%"}, {"page_pdf": 40, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.40", "texte": "BOOK REVIEWS.\n\nTHE NEW VARIORUM EDI-\nTION OF SHAKESPEARE. \"The\nTragedie of Coriolanus \" Edited by\nHorace Howard Furness Jr. A. B.\nLitt. D.J. B. Lippincoti Co. Price 30-.\nI have always treasured Furness's Va-\nriorum Edition of 44 Hamlet \",\n44 Macbeth \", 44 Lear \" and a few\nothers, and this 44 Coriolanus\" adds\nto my treasure.\nIt is a real mine of learning, for\nhere we have what almost everyone\nhas written about each passage of the\nplay, and we have it on the spot,\nthese commentaries being on the same\npage as the lines o; word referred to.\nSo that besides the scholarliness of\nthe work there is an aptness, a neat-\nness, and an immediate response to our\nappeal 44 what does this line mean ? \"\nSometimes the scholars, attempting\nto explain too much, become quite\nincoherent and lead us astray; it is\nthe clear statements of a poet which\nare the best of Coleridge ; he could\nunderstand Shakespeare very well. But\nthen he was a poet.\nAn excellent Index helps us to trace,\nif we wish to, all the passages here\nquoted from Coleridge, or to find what\nSalvini thought of the character of\n44 Coriolanus \", what he did here and\nthere, and what Winter the American\ncritic wrote of Salvini in the role.\nThe interpretations of Irving, Phelps,\nForrest, Macready, Kemble, are all\ndealt with adequately: and we are\ngiven the source of the plot in full.\nAltogether I should say it is the\nmost useful edition in existence, with\none fault;— that each volume is far\ntoo bulky, and an edition should be\nprinted on India paper without delay.\n\nSHAKESPEARE IN THE 18th\nCENTURY by David Nicol Smith.\nClarendon Press. Price 5/-.\nQUOTING Dryden's famous passage\non Shakespeare in his essay 4 4 Of\nDramatic Poesie \", the author of this\nlittle book tells us that 44 it contains\nin essence.... what the critics Were\nto say for the next hundred years \".\nSo that Shakespeare was fixed up for\nthe whole 18th century by a twenty\nline passage of praise more or less vague-\nly worded by the excellent Dryden.\nAmongst other things Dryden said\nthat he was sure that the wit of his\npredecessors.... 44 our predecessors\nhe writes.... 44 was not that of gen-\ntlemen \".\nIt was obviously chilly that mor-\nning when Dryden penned those words,\nand the warmth of wit was no longer\nwhat it was; the capacity to move\nwit—one's own one's mother-wit\nwas near gone. The machine is slow-\ning down.\nDryden's gent'emen were good fel-\nlows, but after all, they had to con-\nsider the French ways or there would\nbe trouble. The 44 something ill-bred\nand clownish \" that was in the Eliza-\nbethans (and which won for England\nso much) was all right for dead men,\nbut for the living a more profitable\nwit, a wit which could hold its own\nin London, suppose at the French Em-\nbassy,—not a French wit but a—well\na more gentlemanly wit.,., that is what\nwas felt Was so desirable at that mo-\nment.... 44 just now \" they say. 44 Fine\nfellows in Elizabeth's time but....\" and\nas David Nico! Smith says, 44 the rise\nof the middle-class and all that it\nmeans dates from that time \".\nDryden was an experimenter. His\n44 AH for Love \" is Shakespeare's\n44 Antony and Cleopatra \" rewritten ;\nit is 44 a triumph of craftsmanship \".\nVan Gogh experimented in this way\nwith paintings of his predecessors,—\nwith Daumier's and Millet's and Do-\nre's.\nThere seems to be no law to for-\nbid it, and why should there be ? If\nI were a producer I would rather like\nto take Shaw's 44 St Joan \" and re-do it.\nA good deal of such experiment is\ngoing on up in Russia. But one should\nat least wait until the author of the\nwork one wants to cut up has been\ndead twenty-five years.\nDavid Nicol Smith is a little stern\nwith the stage, and assures us that\n44 We shall have a lower opinion of\nthis period if we judge it by the to-\npical representations and again, 44 1\ncannot think that our successors a hun-\ndred years hence will get us quite\nright if they take some recent costly\nproduction of the London theatres as\nthe true measure of our appreciation \" :\nhe returns to this several times.\nI suppose he is right: it is a pity\nthat no more effort in the London\nTh eatre is made to prove him wrong.\n\nTHE WORLD TO PLAY WITH\nby Ashley Dukes. Oxford Univer-\nsity Press. Price 6/-.\n■KHMMOWMIMI « IV IWMH ■■MlltflMMMBMIMMll IIIMrmHWaMMMMMMaH\nBEGINNING with some sound good'\nseventy blank verse lines on Shake-\nspeare which are full of common\nseme, Mr. Dukes then drops into\nprose and wriles us some of the bright-\nest essays on the Theatre that have\nappeared for a long time\nMr. Dukes, like most artists, is able\nto appreciate things well, and he is elo-\nquent and logical, and he is also quite\nprovocative.\nI believe if he went slower his ar- ~\nguments might gain in strength, but\nsuch speed is in the eloquent talk that\nyou have no lime to stop him to cry\n41 Hi you ....Dukes ....hold on there\nsay it again slowly ! \". Besides, that\nwould perhaps be like asking the con-\njurer to do his trick slowly. With\nthis excellent if dangerous gift he may -\ncare to do but little more than he\ndoes : he may prefer to develop gifts\nwhich he does not even possess, and\nthen he will do as most of us do, he\nwill attempt to play \" Hamlet \" when\nborn to be the greatest \" Osric \" ever\nseen upon the stage.\nOne of the mam faults of our Eng- \"\nlish Theatre, in fact of all our English\nactivities, is that everyone is in his\nwrong position ; not trying to fill too\nsmall a role or too large a one, but\nto fill one for which he is not very well\nadapted.\nWe have the good Butt of Drury .\nLane : the role he should fill is that\nof plain unadvertised advertising ag:nt\nto a good Theatre—no more. He is\na minor talent. Instead he would swell\nup to seem like a Kemble and is slightly\nridiculous.\nCochran, too, is quite out of his\nright place, ....and now we hear that\nLord Birkenhead, after proving his\npowers as a unique statesman, has\ngone into business.\nReally, it is not a little stupid to\nalio w this sort of thing.\nThe Button-moulders rule empire\nand the men of genius make and sell\nbuttons.\n\nTHE ARTISTS OF THE 1890's\nty John Rothenstcin. Routledge &\nSons. Price 10/6. Illustrated.\nTHIS book has given me a good\ndeal of pleasure; not only be-\ncause it is so ably done and charming-\nly written, but because it tells me of\nmen I regret not to have known, and\nof others of whom I am glad to *\nknow more."}, {"page_pdf": 41, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.41", "texte": "Some of the anecdotes and the\nsayings of Wilde, of Legros, will be\nquite new to the Public, and they are\nfresh and excellent because preserved\nfor us so carefully by William Ro-\nthenstein, the father of the author of\nthis book.\n44 Conder is wonderful, my dear\nWill, he takes you aside and persuades\nyou with that irresistible acumen which\nis the peculiarity of poets, to buy a\nfan for five pounds for which you were\nperfectly prepared to pay twenty\".\nWilde saying this is excellent, and\nthe words have been faithfully repor-\nted. What cannot be recorded is\nWilliam Rothenstein's manner of repeat-\ning it.\nSurely few men of this age enjoyed\nmore or better than William Rothenstein;\nand this intense enjoyment all flooded\nwith the most innocent laughter, the\nmost glowing appreciation of a jest,\nthe most tender affection for who ever\nmay have uttered it, was a thing no\none will ever be able to describe ; or\nthe aspect of Rothenstein when telling\nsuch things and adding to them with\ngusto.\nHe had and has all sorts of sides,\ngrave, witty; but the exuberant side\nwas and is a joy to all who know him.\nAnd so perhaps the most interes-\nting chapter in this volume is the one\nwritten on him by his son. The least\ninteresting to my . mind deals with\nMax Beerbohm.\nI suppose to some people all these\nartists of the IB9o's seem to have\nlived ages ago. Some shall even sup-\npose them dead, some living never\nheard of them. And I dare say that\nthere is only one of them whose work\nwill in the faintest degree give to\nothers who wish to know that parti-\ncular artist some glimpse of the man\nhimself. And that seems to be im-\nportant and so very nice. What else\nis nicer or more important ?\nAnd that one is Max Beerbohm.\nAnd yet, although I say this, there is\nnobody a hundred years from now\nwho will know the man sufficiently\nfrom his works to be able to say in\ntruth that he knows him. Flow ter-\nrible ! And here have 1 been all my\nlife imagining that I knew Flaubert,\nthat I knew William Blake, oh very\nwell; Van Gogh, and even men who\nlived as far ago as Callot and old\nFerdinando Bibiena I And here again\nis sufficient reason for sudden death,\na happy release from all the terrors\nof life. Alive, you hardly know your-\nself ; dead, and I'm damned if a soul\nwill know you. And if it were not\nfor the fact that this is a delicious\nthought, it would he really very ter-\nrible. It is delicious in the sense that\na great adventure is delicious.\nWho knows of anyone's great ad-\nventures ? Putting aside Robinson\nCrusoe's made-up affair, no one knows\nwhat it is makes them so wonderful,\nand Beerbohm must feel this delight,\nnot of being unknown* but forever re-\nmaining unknown.\nSo when Mr. John Rothenstein, fol-\nlowing an excellent tradition that has\nbrought forth innumerable volumes for us,\nwhen this young critic adds one more\nvolume, to the existent efforts to explain\nwhat cannot even be apprehended, it\nshows that life is merely to-day as it ever\nwas, and as foolhardy. And all I would\nsay here is that the reader must not\nsuppose that he gets at any of these\nartists of the nineties. Books like this\none are all pleasant small talk, and\nwhen the talk is between Ricketts £nd\nWilde, Whistler and the others, then\nit is entertaining small talk. And in\nth s book there are quite a number of\nnew anecdotes, scraps of conversation\nwhich are not to be found in other\nbooks which deal with the same ce-\nlebrated figures.\nEspecially interesting is the Ricketts\nand Shannon chapter. There are\nsome good illustrations, and one by\nWalter Greaves seems to me to be\nthe most 44 advanced\" thing in the\nbook. It seems like one of the paint-\nings of the futurists, and it would\nhave been nice to have reproduced it\nin colour.\nPerhaps Mr. John Rothenstein will\nwrite a whole book about Greaves,\nthe Greaves no one knew and no one\ncan know, and give us twenty or thirty\nof his designs in colour.\nAnd I like Mr. John Rothenstein's\ntalent for keeping the ball rolling ; it\nis really excellent. When he has no-\nthing to say he can still go on and\nhold us as he tells us what\nthe modern mind was doing at the\nend of the 18th century and what\nOswald Spengler says, and why there\nwas a revolt against classicism and ail\nthe rest of it.\nI am unconvinced, but I am rather\nproud of Mr. John Rothenstein.\n\nTHE THREE COUSINS by Geof-\nfrey Moss. Hutchinson & Co. Price 7/6.\nDESCRIBED as 44 a collection of\nsparkling stories \", these fourteen\ntales would sustain any young author's\nreputation, being varied, entertaining\nand original ; but sparkling is the wrong\nadjective to use.\nNot dull like the most popular of\nshort story telle* s, he is rot as remark-\nable as Conrad, for example.\nHe holds a place somewhere be-\ntween these two, which is, after all, not\nso mean a place and Mr. Moss can\nstill do better.\n\nMEMOIRS OF MADAME DE\nPOMPADOUR by Mme du Hausset\nher Waiting- Woman. Roulledge. Price\n10 6 net.\nMEMOIRS OF MADAME DU\nBARRI by herself. Cassell. Price\n10/6 net.\nTHESE memoirs of the two conspi-\ncuous ladies who in turn appealed to\nthe fancy of Louis XV, issuing from\nthe two different publishing houses,\ncome aptly together by the same post.\nTo take the senior, and greater\nlady first. Her Memoirs, translated,\nwith an Introduction, by F. S. Flint,\nhave come down to us by the merest\nchance, having been saved from bur-\nning by the intervention of M. S£-\nnac de Meilhan, a friend of her bro-\nther the Marquis de Marigny, 44 Find-\n-44 ing the Marquis one day burning\n4: papers, de Meilhan saw him pick\n\" up a large packet, about to throw\n44 it on the fire, with the words, 44 It\n44 is the diary of my sister's waiting-\n-44 woman. She was a very worthy\n44 creature ; but her diary is all twad-\n-44 ale. To the fire with it\n44 He stopped. 44 Do you not think \",\n44 he continued, that 1 am like the cur£\n44 and the barber in Don Quixote,\n44 when they burnt the romances of\n44 chivalry ?\n44 i will ask you to spare this one \"\n44 said Senac de Meilhan. 44 I like\n41 anecdotes, and I shall no doubt find\n44 something to interest me \\\n44 I am quite willing \" replied M.\n44 d? Marigny, and he handed the\n44 packet to him \" : . ..and so we to-\nday can read, in this English ver-\nsion so excellently printed by Messrs\nRoulledge in their admirable 44 Broad-\nway Library of XVIII Century French\nLiterature the amazing story, per-\nhaps 44 all twaddle cf Jeanne-An-\ntoinette, who, daughter of Francois\nPoisson the weaver, became virtual\nQueen of Fran.ce, as it passed before\nthe observant or curious eyes of her\nwaiting-woman Mme. du Hausset.\nIt is the tale of a dazzling career ;\nthat of a woman of the lower bour-\ngeoisie who fascinated Louis XV, and\nfor whose caprices the greatest figures\nof the court were subject at any time\nto public humiliation, as when the\nDue de Richelieu nearly went to the\nBastille for the fourth time because he"}, {"page_pdf": 42, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.42", "texte": "%\nattempted to thwart her over her thea-\ntre. Voltaire also, the 44 first benefi-\nciary of Madame de Pompadour's in-\nfluence ' so soon as the King's patent\nhad raised her from the humble estate\nof Madame d'Etioles, was to owe\nhis dismissal to her, following upon\nsome indiscreet verses: the Court, pre-\npared to mock, was obliged, outwardly\nat least, to be respectful and order\nitselr lowly and reverently to the new\nand brilliant star in the royal firma-\nment : and the Duchess, having attain-\ned her position, knew well hew to\nmaintain it.\nLou's XV was, we are told, all\nhis life 44 pursued by an implacable\nboredom '', and she held him by her\ncapacity to keep him amused. 44 When\n44 the charms of her physical attrac-\n-44 tions began to wane, she invented\n4t her theatre, Le Theatre des Petils\n•4 Appartemens on which she dis-\n-44 played her graces and talents as an\n44 actress, singer and dancer \". The\nKing was, we read, proud of his ac-\ncomplished mistress. 14 1 he theatre cost\n44 a lot of money; but it achieved\n4 Madame de Pompadour's purpose\n44 so well that when, somewhere about\n44 1752, all intimate relations had\n44 ceased between them\" says this twad-\ndle, 44 she became the King's indis-\n-44 pensable friend, confidante, adviser,\n44 and assistant in the business of\n44 State \" : ....which shows that a\nTheatre sometimes may have a use\nthat one had never thought of before.\nOne of the illustrations in the book\nshows a 44 Performance of A as et\nGalciee by Madame de Pompadour's\nCompany from a Wash drawing by\nCochin, \" and, in Appendix A., there\nis an interesting fourteen-page Histori-\ncal Note on *4 The Performances in\nthe Little Galleries of Louis XV\ntranslated from the account by Loujon.\nWhen Madame de Pompadour had\nmet death, dressed in full Court cos-\ntume, in 1764, after being the 44 un-\ncrowned queen of France \" for twenty\nyears, His Most Christian Majesty\nLouis XV was in grave danger of\nfalling into a disastrous boredom. For,\nalthough the Marquise had for ten\nyears or more been but 44 indispens-\nable friend, confidante, adviser\", her\ncharming finger had been in every po-\nlitical and domestic pie ; by her intel-\nligence and skill she had 44 maintained\nherself in the favour of a monarch as\nfickle as he was ruthless \", this being the\naccepted notion of Louis XV, and\none being reconsidered to-day. When\nher own charms had ceased to at-\ntract \" she 44 had instituted the Parc-\naux-Cerfs, and kept it replenished with\ngirls of fitting comeliness \". Now\nLouis, already fifty-four, found himself\nsuddenly, as one may say, at a loose\nend, if so colloquial an expression may\nbe applied to so imposing a personage.\nHe had, thanks to Madame de Pom-\npadour, efficient ministers, so that po-\nlitically he should not miss her too\nmuch ; and Lebe!, 44 h)s discreet and\nassiduous valet did what he could\nto provide other, attractions and 44 a\nconstant variety of beauty \" : but the\nking, says twaddle, missed 44 the men-\ntal stimulant of some clever or impu-\ndent woman as his constant compa-\nnion , and at this propitious moment,\nin 1769, Lebel, probably harrassed\nby his responsabilities, had the good\nfortune to introduce to his royal mas-\nter the beautiful Madame du Barri,\n... and the trick was done. 44 From\nthat day until his death, five years\nlater, Louis was, we are told, a mere\ninsiiument in her hands, to be wielded\naccording to the schemes of the men\nwho had put her in power \".\nMadame du Barri was also of no\nvery exalted birth. The best even\nshe herself can find to say of her fa-\nther's family is that it was 44 by no\nmeans despicable \", that it 4* came\nfrom very good citizens and even of\npetty nobility but 44 My father, ha-\nving no fortune, had been compelled\nto accept a mean situation as a clerk\nat the Barrieres \", ....was, in fact, a\nCustoms-house clerk. Still Marie-Jeanne\nwas endowed with beauty, a beauty\non which, after the father had died\nleaving his family penniless, her mo-\nther and she staked all their hopes.\nPlaced in a boarding-school at the\nexpense of her rich god-father, she\nwas in her sixteenth year apprenticed\nto a milliner and was 44 almost eman-\ncipated, almost free \"•\nOn the second Sunday of her new\nexistence she went to visit a school-\nfriend : the family took her for a walk\non the boulevards 44 and after the walk\n44 we went to the theatre. It was the\n44 first time such a pleasure had been\n44 presented to me; it so completely\n44 laid hold of my mind and imagina-\n-44 tion that I almost forgot the pre-\n-44 sence of the brother of Genevieve.\n44 Seated by my side, he was only\n44 thinking how he should express his\n44 love for me \", and from that day\n44 The image of Genevieve's brother\npursued me sleeping or waking \". This\nwas the beginning, the 44 first love of\nthe King's future mistress After this\ncame the dashing Comte d'Aubuisson,\n44 who, himself alone, made more noise\n44 than a whole regiment. His inso-\n-44 lence, which I took for grandeur,\n44 had a prodigious effect upon me.\n44 He came to order the prompt com-\n-44 pletion of a hat for the Duchess de\n44 Viileroißrother Nicholas, with\nhis proposals of honourable marriage,'\nW£S soon forsaken. 44 Had 1 listened\n44 to my heart, it would have guided\n44 me wisely, but I abandoned myself\n44 to my vanity, and my vanity des-\n-44 troyed me After that came a\n44 young Biscayan \", 44 He was the\nthird ! \" : but the list of all the con-\nquests previous and subsequent to the\ngreat conquest is far too long, and\nmust be read in these confessions of\nMadame du Barri herself, through\nwhich we get vivid glimpses respec-\nting half the notabilities of the times.\nMadame du Barn\", like Madame de\nPompadour, had her taste for the\ntheatre : and the sisters Verri&re, who\n44 bore the sceptre of the highest gal-\nlantry\", Mile Guimard, and other figures\nof the stage pass across these pages, in\nthe midst of all kinds of details of intrigue\nand scandal; while some interesting details\nare given of Madame du Barri's own\ntheatricals and the later performances\nof ihe Petit Tiianon, relating to one\nof which the following anecdote is re-\nlated :\n44 At one of these representations,\n44 and just at the moment when the\n44 queen (O.had concluded a little song,\n44 a loud hiss was heard. Pier majesty,\n44 fully sensible of there being but one\n44 person in the company who would\n44 presume to venture such a mark of\n44 disapprobation, advanced to the front\n44 of the theatre, and, addressing the\n44 king, said, with a low curtsy, 44 Sir,\n44 if my performance does not meet\n44 with your approbation, have the\n44 kindness to retire. You will have\n44 your money returned you at the\n44 door.\nThis speech 44 was loudly applau-\n-44 ded, and the king, while asking\n44 pardon for his offence, protested\n44 l hat he had committed it mere-\n-44 ly for the sake of mischief, and\n44 by no means from ill-nature \". How*\n44 ever \", adds the Duchess, 44 it\n44 was universally admitted that Marie\n44 Antoinette's acting fell far below\nmediocrity, and might well have\n4; justified the disapproval of her con-\n-44 sort. The royal corps was soon\nweary of playing to so scanty an\naudience, and longed for a few\nadmiring friends to witness their exer- \"\ntions. Accordingly, a select number\n44 of courtiers was admitted, to the\nextreme envy aud jealousy of such\nas were excluded. One of the mal-\n\n(i) Marie Antoinette."}, {"page_pdf": 43, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.43", "texte": "4i contents -said, in my hearing, 44 Her\n\" majesty seems over-fond of playing\n44 comedy; perhaps, ere long, she will\n*4 favour us with a tragedy \".\nWell, there was tragedy enough\nawaiting them all, actors and audience,\nand, if Marie Antoinette played her\npart on the theatre-stage poorly, she\nplayed it courageously enough in that\n>last tragic act on the Place de la Re-\nvolution ; whereas Madame du Barri,\ncondemned to death, 4i With an over-\n-44 whelming, passionate desire to live ,\nno matter at what cost, began a se-\nries of 44 revelations compromising every\n,$4 one whose life, she hoped, might be la-\n-444 ken in exchange for her own \" ; so that\n114 more than one innocent went to the\nVguillctine on the strength of her words * ,\nwhile she herself was borne to the\nscaffold in such crazy terror, so 44 de-\nmented with anguish \" that those ac-\ncustomed to the composure of the\naristocrats -before a like ordeal were\namazed.\nThe Memoirs from which this book\nis taken appeared, says the editor, in\n1829, under the nominal editorship of\nLamothe-Langnon. Though 44 written\n44 as autobiography, it would, perhaps,\n4 44 be belter to say that in those Memoirs\n* 44 the editor collected the many remi®\n* 14 niscences then current of Madame du\n1 44 Barri and welded them into connected\n'44 narrative. The facts related are indis-\n* * putably true, and their presentation\n44 through the medium cf her personality,\na personality, which pervades the whole\n444 book, throws a light of its own\n'S4 upon that strange and tragic period\n44 immediately preceding the French\n44 Revolution \".\niHowever they came into being, they\n* are certainly readable.\n\nLAZARUS LAUGHED. Engine\ni O'Neill. Boni and Lioeright, 1927.\n! Price $ 2,50.\nif\"\" Lazarus : (His voice is heard in a\n□J gentle, expiring sigh of compassion,\nfollowed by a faint dying note of\nlaughter that rises and is lost in the\nsky Hke the flight of his soul back\n. into the womb of Infiniiy).\n44 Fear not, Caligula I There is no\n- death ! \"\nWell, we should call this devilish\nhighbrow in England, and in Italy we\nshould call it precisely highbrow, and\nin France they would call it a lot\nmore. And what would they say in\nv Germany ? I think they would rather\nlike it, but I also think that the prin-\nting of a play is a most unfair pro-\n- ceeding, because it has to come be-\nfore ordinary men with a sense of\nluimour and other common senses, and\nwhen they read this,—\nHa-ha-ha-ha ! Ha-ha-ha-ha !\nLet us die, Lazarus !\nMercy, Laughing One I\nMercy of death !\nHa-ha-ha-ha ! Ha-ha ha-ha I\nNo, it simply won't wash, they are\nin no laughing mood, and although I\nam pretty positive that O' Neill is not\na man with a great sense cf humour,\nyet with a lot of practicability in his\nnature, with the sense of a theatre\nman and a really most able being, in\nthe piece I have quoted there is so\nmuch insincerity and so much twaddle,\nthat i am forced to believe that it is\nnot O* Neill's fault but the fault of\nthis beastly fjrint, and the habit of\nprinting plays which should be heard\nand seen and never read. But I fancy\n44 The Mask \" has said this for some-\nthing like twenty years, and of course\n44 The Mask \" is wrong. Because forty\nout of eighty of the pages of Macbeth\ncan be read, and the whole thing blaze\nlike anything and s ldom is there any\nsound of insincerity. And the same\ncan be said of forty of the pages of\nKtng Lear, and of course other plays.\nBut even to have found two which\nprove tone wrong about one s sweep-\ning theory is a comfort. The only\ncurse is when these Lazarus plays\nprove you right.\nThis play of O' s is much\ntoo full of stage directions. For\nexample,— believe me, ;I open entirely\nat random :\nPompeia walks to the dais which\nshe ascends slowly until she stands by\nCaesar*s couch, beside himy confron-\nting Lazarus.\nThe stage directions continue -for\nanother six lines and end up :\nPompeia leans over and takes a\npeach from the bowl of fruit on Cae-\nsar s table, and taking Tiberius hand\nin the other, she fusses it, and calls\ninsistingly ;\n44 Caesar, it is I, Pompeia ' .\nNow, when you have to tell actors\nthat there have to be peaches, and\nnot pears, in a bowl on a table and\nthis chief actress has to walk slowly\nto a dais, and that she has to stand\nbehind, and not at the side of Cae-\nsar, things are getting very impracti-\ncable. Suppose in 44 King Lear '\nhad some such strange and useless\nstage direction. I ake for instance Cor-\ndelia's line : 44 And so I am , You\nall remember it. Good ! Now let us\nre-write the stage direction :\nLeaf...* Bellevfi trr»s lady to be my\ndaughter \".\nCordelia (walking to the dais, up\nto which she trips with rapidity, and\nstands behind Lear's couch, Lear con-\ntinues to stare into space. His whole\nbeing relaxing, a dreary Smile softens\nhis hard mouth. Cordelia runs over,\ntaking a whisp of hawthorne from a\nbowl on the right of Lear, and stro-\nking the white hair of her father with\nthe bough, kisses his forehead, coos\ninto his ear:) \" And so 1 am\nNow doesn't this spoil the whole\nthing ? And it it can spoil Shake-\nspeare, how easy it is then to spoil\nO Neil!. But fifteen lines of stage di-\nrection is nothing to O'Neill. There is\none of his which counts up to about\nthirty-two. Between almost every speech\nis a stage direction. Mary is to say\n\" hysterically the father is to say\n\" frenziedly\", the mother is to say\n44 fanatically \" or \" tearfully Mary\nis to speak 44 defiantly \". Now there\nare at least seventy shades of defiance\nper person, one hundred shades of\nhysteria and of frenzy, and therefore\nit is making it so easy for the actor\nwhen he is told as here that all he\nhas to do is to be frenzied or de-\nfiant in one and the same old way\nthe one and only way according to\nthis author.\nIf there are going to be long stage\ndirections I like them to be all of a\nmore subtly discriminating nature than\nthis. Let the author look into the whole\npast life of Mary and the father and\nthe mother. Let us hear what kind\nof voice Mary actually had. How it\nwas affected by a feeling of defiance\non Mondgy, Tuesday, and so on. What\nsort of thing made her snap or snarl her\nwords. What made her coldly de-\nfiant, frantically defiant, and sincerely\ndefiant and so on. But that would mean\nlong discussions of Mary and her ways,\nher life, and even then 1 doubt if we\nwould get it. Surely the great actor\nis needed at last.\n\nSTAGE DECORATION by Shel-\ndon Cheney. Chapman & Hall.\nPrice two guineas net.\nMR. Cheney's review of Modern\nDecors was already reviewed,\nin its American edition, in the April-\nJune number of 44 Ihe Mask\", and,\nsave for repeating that Mr. Cheney\nis one of the ten or fifleen men who\nfor the last twelve years have been\nclosely observing what is going on in\nthe 1 heatfe? of Europe and America,\nwe refer cur readers back to that\nreview."}, {"page_pdf": 44, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.44", "texte": "It is a book which, in the swiftness\nand simplicity with which it surveys\nthe work of the New Movement, and\nglances over the Historical background\nof that Movement, should be within\neasy reach of the student and worker\nof the Theatre today : and those who\nmade its American publication a pre-\ntext for finding it difficult of access,\nhave no further excuse now that\nMessrs Chapman and Hall have is-\nsued it in their very midst.\nIt contains 127 illustrations, inclu-\nding reproductions of works by Adolphe\nAppia and Craig.\nII nil— !■■!! !■■■■ IB— 111 I 111 H II ll—l W—i— ll —— ■ ■■■ I ■! 1 ■ II\n\nLETTERS FROM JOSEPH CON-\nRAD. / 895- / 924, Edited by Edward\nGarnett. Bobbs Merrill Company.\nU. S. A.\n\" YY/HAT is life worth if one can-\nW not jabber to one's heart's\ncontent ? These may sound unlike-\nly words to proceed from the iro-\nnic, often sardonic, author of 44 Lord\nJim \" and \" The Secret Agent ne-\nvertheless they are Conrad's own words,\nand addressed to his friend Edward\nGarnelt, recipient of this long series\nof letters which Mr. Garnelt now\nedits and makes public.\nThey show a curious dependence\nupon, as well as a keen affection for the\nman who first, as reader to Mr. Fis-\nher Unwin, recommended \"Almayer's\nFolly \" for publication and, in their\nfrankness, their wholly unguarded na-\nture, pay a tribute to the trusted cha-\nracter. of the friend to whom they\nWere addressed as well as throwing\nmuch interesting light upon the mind\nand fortunes of the one. who wrote\nthem.\nThey reveal how fierce was the\nstruggle for existence of this writer\nwho would not, no matter how despe-\nrately pressed for money, write less\nthan his best. He works under deadly\nfinancial pressure, hedged in by all\nthe domestic worries which lack of\nmoney can bring in their train, but he\nworks on ; and to this intimate friend\nwhom he regarded as his 44 father in\nletters\" he poured himself out through\nalmost thirty years, in letters which,\nas Mr. Garnett says in his sympathe-\ntic introduction, reveal marvellously\nConrad's personality, his buoyant tem-\nperament and resilient moods, his un-\ncanny insight, his skeptical faith and\nphilosophical irony, his charming frank-\nness and great affectionateness, his flash-\ning wit, his humor, often playful,\noften fiercely sardonic \".\nIt anyone still doubt© how hard the\nconsciencious artist's life can be, they\nmay inform themselves convincingly\nenough from these pages: may see\nhow the artist, far from conceiving in\njoy and bringing forth in peace may\nconceive in agony and bring forth in\ndesperation, ...and with every atten-\ndant harassment that can render his\nordeal more severe.\nOn page after page we find such\nsentences as: 44 Am used to hard-\nships and privations of all kinds \" : \" I\nhave had a lot of worries. A man 1\nlove much had been very unfortunate in\naffairs \" and 44 I also lose pretty well\nall that remained Writing about\n44 the ghastly Rescue \", he says:\n** Your commendation of part one plun-\n-44 ges me simply into despair—because\n44 part two must be very different in\n44 theme if not in treatment and I am\n44 afraid this wiil make the book a\n44 strange and repulsive hybrid, fit only\n44 to be stoned, jumped upon, defiled\n44 and then held up to ridicule as a\n44 proof of my ineptitude \" :... 44 I am\n44 in desperation and I have practically\n44 given up the b00k.... I am para-\n-44 lyzed by doubt and have just sense\n44 enough to feel the agony but am\n44 powerless to invent away out of\n44 it \". and so on and so on, interspersed\namong all kinds of interesting details\nof the production and progress of his\nbooks, the negotiations with publishers,\nthe little sums secured as an advance\non royalties to keep the pot boiling :\nand comments on contemporary books\nand writers, and personal news.\nMr. Garnettr, referring to Conrad's\nslow progress in increasing his circle of\nreaders, says that 44 Nineteen years\nof arduous work (1895-1913) failed\nto bring him into real prosperity\nIn 1896 44 He was so depressed by\nhis position that he explained to me\nhis hopes of getting a command at\n•*\nsea «...\nBut in his last years some measure\nof success came to him, and 44 When\nworldly success came at last to Conrad\nit increased his desire to refer to the\nold days and to remind one of any\noffices done him in the early years\nof authorship \".\nIf that be so, Conrad would have\nbeen glad that these letters should be\nmade public, since they are a long re-\ncord of 44 offices done him \" in those\nhard times ; but Mr. Garnett is proba-\nbly the last man to be aware what a\ntribute to himself are these Letters\nwhich he has edited :... or to what\nextent, if they reveal the character of\nthe writer, they also reveal that of the\nman who was his faithful friend for\nthirty years.\n\nA HISTORY OF GARDEN ART\nby Marie Luise Gothein, Edited by\nWalter Wright, Translated from the\nGerman by Laura Archer-Hind. Two\nVols. /. M. Dent & Sons. Price\n84j- net.\nTHIS a work which delights at the\nfirst perusal, and will, I am certain,\ndelight all who possess it for years-\nto come ; for it is on one of the most\nentrancing subjects in the world, the\nGarden, and.it treats of this in the.\nmost comprehensive and satisfying way.\nThe Edilor has reason to say it\nis 44 a work of supreme ability\nthat it presents 44 a panorama begin-\nning in that dim past in which his-\ntory itself took birth, and extending\nthrough ages crowded with vital events\nand heroic figures \", and that it 44 is\n44 at once significant and enthralling to\n44 realize how closely gardening has\n44 been interwoven with those decisive\noccurrences and those momentous\n44 personalities which have affected hu-\n-46 man destinies the most profoundly \".\nIt is a work which takes its place as;\na Garden classic, covering the whole\nground from Ancient Egypt, Wes-\ntern Asia in ancient times, ancient:\nGreece, the Roman Empire, the By-\nzantine Gardens and the Countries of*\nIslam down to the [gardens of the?\nMiddle Ages in the West, and off\nItaly, Spain, Portugal, France, Eng~-\nland, Germany and the Netherlands,\nin the time of the Renaissance. Long\nchapters are devoted to the Time of\nLouis XIV ; to the brencb Garden in\nEuropean Countries; to China and\nJapan; to the English Landscape Gar-\nden, the Tendencies of Garden Art\nin the Nineteenth Century, Modern\nEnglish Gardening, and Landscape\nArchitecture in the United States and\nCanada. There is a detailed table\nor Contents, an excellent alphabetical\nIndex, and 688 enchanting illustrations, .\ngiving views of gardens and garden *\nplans of all ages and all lands.\nMadame Gothein dates her Preface •\nto the first edition in 1913 from Hei-\ndelberg ; her preface to the second\nedition in 1925 fiom Banjoemas, Java, .\nand tells us that it was in 1904, at\na meeting of the New Philological\nSociety at Cologne, in an address on -\nthe Origin of English Landscape Gar- -\ndemng, that she offered 44 the first\nfruits of those studies out of which -\nthis book has grown\": and she is\nright in thinking that this work of\nheis 44 should appeal to readers of\nmany sorts ; to the archeologist, to the *\nhistorian of art, to the historian, in- *\ncieed of any kind of civilization \"."}, {"page_pdf": 45, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.45", "texte": "We, in 14 The Mask \", naturally\nscan every book first for its relation\nto the Theatre, and we wish Madame\nGothein had found it possible to give\nus more details,... such as in her wide\nand profound study she must certainly\nhave accumulated.... respecting the\ngarden Theatres of the world. Some-\nthing she does tell us, as in the\npage or two devoted to Philip Il's\ntheatre at Buen Retiro : but the ma-\nterial is so abundant ; and Madame\nGothein must know so well where to\nlay her hands on any she has not al-\nready amassed, that we trust she may\npresently give us a book devoted\nwholly to Garden Theatres, ....the\ntheatres of Italy and Spain and Vienna\nand France and England, and the ar-\ntists who produced the plays, and the\nactors who played on those sunlit or\nmoon-lit stages.\n\nPUNCH AND JUDY, With an in-\ntroduction by Charles Hall Grandgent\nand illustrations by Ceorge Cruik-\nshank, George Allen & Unwin. Price\n3/6 net.\nTHIS is a welcome appearance in a\nnew edition of an old friend\nheretofore not easily met with save\namong the ranks of old and second-\nhand hooks.\nUpon an early fly-leaf is inscri-\nbed \" First printed in Great Britain\n1928 \" by which presumably Messrs\nAllen and Unwin intend to announce\nthat this is the first time an edition\nissues from their House : for the first\nedition appeared in 1828 44 with twenty-\nfour illustrations designed and engra-\nved by George Cruikshank, accompa-\nnied by the dialogue of th? puppet-\nshow \" in London, 44 printed for Sep-\n* timus Prowett, 55, Pall Mai!, Bvo \",\nand a third edition 44 printed for Tegg\nin 1844\": and a fifth edition 44 pub-\nlished by Bell and Daldy, in 1870,\nthe plate?, coloured and printed sepa-\nrately, signed G. Ck. \": while a Ger-\nman edition, with the cuts printed in\nsepia, was published at Stuttgart in\n1865. A copy—first-proof etchings\ncomplete, sold at George Cruikshank's\nlibrary sale, 1868, for £ 17.\nThe above dates are given in the\nLife of George Cruikshank (0 by Blan-\nchard Jerrold, who remarks, relative,\nto the 44 Punch and Judy \" designs, on\n44 the power of Cruikshank to inform,\na puppet with life, and keep it wood-\nen still and who gives an interes-\nting passage in which Cruikshank him-\nself relates his entry upon and accom-\nplishment of this particular piece of\nwork :\nHaving been engaged by Mr.\nProwett, the publisher, to give the\nVarious scenes represented in the street\nperformances of \" Punch and Judy 99,\n1 obtained the address of the pro-\nprietor and performer of that popular\nExhibition.\nHe Was an elderly Italian of the\nname of Piccini, whom I remembered\nfrom boyhood, and he lived at a low\npublic-house, the sign of The ' Kings\nArms 9 in the ' Coal Yard \\ Drury\nLane.\nHaving made arrangements for a\n' morning performance' one of the\nwindow frames on the first-floor of\nthe public-house was taken out, and\nthe stand, or PuncKs theatre, was\nhauled into the ' club-room *.\nMr. Payne Collier (who Was to\nwrite the description), the publisher,\nand myself formed the audience;\nand as the performance went on, I\nstopped it at the most interesting\nparts, to sketch the figures, whilst\nMr. Collier noted down the dialogue,\nand thus the whole is a faithful copy\nand description of the various scenes\nrepresented by this Italian, whose\nperformance of 4 Punch ' was far su-\nperior in every respect to anything of\nthe sort to be seen at the present day.\nThe figure whose neck he used to\nstretch to such a great height was a\nsort of interlude.\nPiccini made the figure take off\nhis hat with one hand, which he de-\nfied all other puppet-show performers\nto do.\nPiccini announced the approach of\nPunch by sound of trumpet *\\\n<1 It was only after referring to this\nextract in Blanchard Jerrold's \"Life\"\nthat I discovered it reprinted at the\nend of this new edition, and suggest\nthat, in the next edition, it might be\nhelpfully placed at the beginning, im-\nmediately after the Preface, in which,\nin his brief three and a half pages\nMr* Grandgent finds place to say se-\nveral serious things; as, for example,\nin his closing words: \"now we begin\nto understand why Mr. Punch is so\npopular with us all, and why he ap-\npeals, most irresistibly to the young.\nIt is because we see in him the fulfil-\nment of our repressed desires. He is\nthe Spirit of Revolt. Mr. Punch is\nnot only the Hero—he is also the\ntypical Superman, the supreme Self-\nExpressionist \".\nBut why is Mr. Payne Collier's\nname omitted from the title page\n. ..which bears the names of Mr.\nGrandgent and George Cruikshank\n0n1y..,, considering how important a\npart he played in this record of \" The\nTragical Comedy or Comical Tragedy\nof Punch and Judy \" }\n(1) The Life of Geo ge Cruikshank\nby Blanchard Jerrold. 2 vols, illus:\nChatto & \\Vindus 1882.\n\nLE THEATRE, LE CIRQUE, LE\nMUSIC-HALL ET LES PEINTRES\nDU XVIII SIECLE A NOS\nJOURS. Preface de Camille Mauclair.\nFlammarion, Paris, Price 70\nfrancs.\n\nEXCELLENT M. Mauclair has gi-\n-1 ven us barely fifteen pages of\nPreface and that was clever of him. He\nmerely mentions by names the pain-\nters, designers for the stage, the dancers,\nactresses, singers, and not by any\nmeans all of these: he recalls Wag-\nner and Bayreuth and refers to the\npower that all that is contained in the\nword spectacle has upon painters. A\nword about Fortuny, Bakst and Benois,\nsomething about Mme Raquel Meller,\nand he is done.\nExcellent M. Mauclair; .... but\nwhy did you forget Isadora Duncan ?\nAfter this brief Preface we enter\nthe big book itself and its 118 large\npage reproductions of the lesser known\nand practically unknown drawings, pain-\ntings, and engravings of Circus, Music\nHall and Theatre : more Circus and\nMusic Hall than Theatre.\nThe now rather familiar 44 Concert\ndonne a Rome en 1729 \" by Pan-\nnini reproduced in \"The Mask\" (0\nis given and I was again convinced\nthat some modern painter would do\nwell to repaint that wonderful scene\nand paint it properly. For Pannini\ndidn't : the reproductions in black and\nwhite are many times better than the\npicture itself which is curiously dead.\nI saw the original last month for the first\ntime and had expected so much and was\ndisappointed as never before in any\npicture. Sir William Orpen, if he\ncopied it and transformed it into co-\nlour which was really colour, would\nmake a miracle of it all. Pannini de-\nserves this of Orpen for he has de-\nsigned it well.\nTwo drawings by C. N. Cochin n-\ncluded in this book, designs for the\ninterior of a little court theatre, are\nvery delicious and are quite new to\nme, as is the Decor by Isabey of 1826,\na not at all Isabeyish thing, but pretty,\nA Decor attributed to Carlo Bi-\nbiena should surely be attributed to\nhim for as short a time as possible,\nfor it is not by him ; no Bibiena ever\n\n(i) The Mask. Vol. 13, 1. January 1927\nby courtesy of \" The Studio \"."}, {"page_pdf": 46, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.46", "texte": "failing to the extent this Dec°r fails\nin perspective, design and charm, and J\nin that Gal!i-c elaboration which is i\nthe hallmark of th's famous family of i\nscenographers.\nA reproduction is given of a water 1\ncolour (is it a water-colour?) by Tou-\nlouse-Lautrec from the collection of\nM. Arnold Seligman. But not for\nthe usual reason does it charm me\nthough it delights me no less so. Why I\nlike it so much is that it makes me laugh\nfor very long when ever I look at it.\nIt represents Valentin le desosse and\nla Goulue dancing at the Moulin-Rouge:\nand here again in this design are those\nhigh-brows to which I referred on ano-\nther page (T), in my review of the pro-\ngramme of the 1928 Folies Berg^res.\nTen to eleven high-brow gentlemen\nin evening dress are depicted looking on\nat Valentin and La Goulue and taking it\nto be wonderful serious high art. The\nwrapt expressions of the wearied men\nwho have come out late to taste high-\nart, to differentiate betwixt La Gou-\nlue and something, say, at the Opera\nhouse at which they have sat, sitting\nout the, to them, wearisome show.\nThese are the genuine high-brows ;\nplain good middle-class or, may be,\naristocratic people with noth ng to do,\nwho may once have read a play by\nRacine, may have heard of one of\njokes, but who want to forget,\nwant to go further and delve into the\ntruer beauty. And they search for it at\nthe Moulin-Rouge, for some artist who\nloves something in La Goulue has in\ntheir hearing said she is 44 divine\nThey come, these ten or eleven guests\nin evening dress, to find that, and,\nseeing her ugly feet, they look down\non the floor and search back in their\nminds for some old fable which shall\nhelp them to understand the profound\nsignificance of these hoofs :—not hers\nonly but those of M. Valentin too.\nThus, wasting their time and suppor-\nting the very worst kind of dancing,\nthese motionless men anyhow very well\nserve Toulouse-Lautrec as models.\nAnd I saw them only last month\nat the Folies Bergeres—that's the fun\nof it: the same old crew—thinking\nhard—trying not to show the emo-\ntion that had gone to their heads and\nwas fixed there—raising their brows to\nward off any likely descent of their emo-\ntion to the heart—wrapt, tense, tingling\nup there, and all about less than nothing.\nI should add that no library will\nbe complete without a copy of the\nbook of 118 fine plates: and Ido\nadd it.\n\np. b.\n\n(i) see page 769.\n\nTHE PLA YGOERIS HAND-\nBOOK TO RESTORATION\nDRAMA by Malcolm Elwin. Jona-\nthan Cape. Price 6/-\nTHIS is the second Hand-book to\nthe Drama that Mr. Cape has\nissued, and very useful it will prove\nto a number of people.\nIts biographical notes on the players\nof the period were unexpected : it is\ntoo often, when but little is exactly\nknown of the ancient actors, that these\nbiographical lists are drawn up full of\nsurmise and very little else.\nThe author, while writing of the\ntimes of Charles 11, still keeps us in\ntouch with today, and this prevents\nthe work from becoming too oryly\nhistorical: but for all this hundreds of\nthe dry facts are there, and by aid\nof an index we can find them at\nonce.\nIt is a happy addition to the ear-\nlier works by Dr. Allardyce Nicoi!\nand Mr. Palmer, and to both works\nI was glad to see Mr. Elwin is happy\nin his praise.\n\nELLELINE TERRISS by Herself\nand with Others. Cassell & Co.\nPrice 7/6 net.\nILLUSTRATED by delightful pictures\nI of this little lady, the book is charm-\ning from first to last. And very in-\nteresting, and screamingly funny at the\nleast opportunity.\nThere is a record too which runs\nthrough all the entertaining gay pages,\nand it is a record oi very hard work.\n\"Who would guess it to look at the\nportraits of this young and ever po-\npular actress.\nBut then that has been part of hei\nart—to hide the stress and worry oi\nthis labour of love ; for though she\nlias made great successes, financial ones\ntoo, she has always looked on her nfe\nand career as two things, to be devo-\nted to her profession and to her partner\nin it—her husband Seymour Hicks.\nIt is a veiy admirable record.\n\nCHAMBERS ENCYCLOPAEDIA,\nNew Edition.\nIT is naturally the Theatrical entries\nwhich we turn to ; and straight away\nwe find fifteen and a half pages de-\nvoted to the word Theatre, and the\nwhole question of Theatre, ancient and\nmodern, gone into most thoroughly.\nFirst touching upon the Theatre in\nCrete, the writer reaches the Classic\nTheatre, treats of its building, its fit-\ntings, its performers and its decline.\nThen the Christian Theatre, Early Eng-\nlish Theatres, Italian and French in-\nfluences, and the modern movement\nfrom Godwin down to today.\nThis is followed by an excellent\npassage on the Art of Acting, and at\nbrief one on the Licensing of Theatre?,,\nBesides this long article we have:\nethers on Amphitheatres, Drama,\nMasques, Mime?, Mystery ana Miracle\nplays, Opera, and Pantomime.\nChambers' Encyclopaedia will not\nbe behind the Encyclopaedia Britan-\nnica in its proper and most modern pre-\nsentation of this dirhcult subject, but\nwill assuredly be consulted before any\nother book by anyone who writes on\nit in future.\n\nTHE PIKE FISHER by Edward\nF. Spence K. C. ; A. & C. Black.\n(price not given).\nTHE writer, 44 E. F. S. \" is the\nPike fisher and there is a por-\ntrait of him as frontispiece looking as\ngentle as any sucking dove.\nFacing page 67 is the poitrait of\nhis collaborator—the Pike—. A more\ndeadly looking devil I never set eyes on.\nIt holds dozens of designs for masks,\nthis pike's head.\nBut is he, was he in life, in pond\nor rivers or in lakes,... so deadly\nas his face would say ? Wasn t it\nMr. Spence who made him do it ?\nIf it hadn't been for such men as\nSpence would such a fish as this same\nPike ever have existed ? I have al-\nways felt that all sport, with animals,\nbirds and fish as the source of sport,\nwas cruel and unpleasant. Man ver-\nsus something his own size, without\nweapons which carry a hundred yards\nand exterminate easily, seems fair play :\nsport of the kind I refer to seems to«\nme unfair. So when I look at Mr.\nSpencels face and then at this Pike's I\nam puzzled what to think.\nThe book is full of instructions which\nto other Pikeists will be of value. To\nme 44 I believe that the pike does not\nsuffer physically from pain \" is comfor-\nting. I wonder is he subject to the *\njoys of pleasure. Presumably not.\nMr. Spence's book is full of good\nstories and several stage asides.\n\nrwinrmmr M ■ ■■■■■ ! I MIWHIHIIBIIHII I—nlIIWWIFRN———^\nTHE HEPTAMERON of Marga-\nret, Queen of Navarre. Stanley Paul.\nPrice 2)6 nel.\nTHIS new volume in the 44 Interna-\ntional Library \" forms a compa-\nnion to the already issued 44 -\nmeron *' to which it is related both by\nthe plan of its construction and by"}, {"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.47", "texte": "EDITORIAL NOTES\nOCTOBER: NOVEMBER: DECEMBER\n\nON TAKING RISKS IN THE\no THEATRE. o\nTHERE is a notion everlastingly\nflitting around London and its\nTheatrical circles that any bold artist is\ndangerous to the 1 heatie.\nAny man with the wit to lake risks\nwith his work is considered a danger.\nNow we should have thought it was\nprecisely this wit to risk which was\nlacking on our stage, and its lack one\nof the reasons why our English Theatre\nis so hidebound.\nIn connection with this supposition\nit is not uninteresting to come across the\nfollowing remark by Dr. Quesnay, a\nman of parts and called by Louis XV\n44 his thinker \".\n44 Soldiers \" said Dr. Quesnay,\n\" make a great mystery of their art;\nbut why have young princes all such\ngreat successes ? Because they ere\nactive and bold. Why do sovereigns\nrvho command their troops do great\nthings ? Because they are masters, and\ncan risks\nAnd if you come to think of it,\nwhat great success was ever achieved\nexcept in the face of great risks.\nSome famous surgeon saves a va-\nluable life by risking the chances. Ge-\nnius assuredly succeeds not only in\ntaking pains bnt risks.\nAnd so it would seem pretty foolish\nto spoil the British Theatre by a fa-\ntuous trust in safe men.\nAnd the queer thing about genius\nwhich is ready to risk so much is it is\nseldom foolhardy. It is bold, not in-\ncautious; venturesome, not thoughtless.\nAnd, unluckily for the British Stage,\na thoughtless society is apt to attribute\nits fault to genius.\n\no BRITISH. o\nTHE day is over and gone when, if\nwe Bre Englishmen, we can afford\nourselves to waste another hour gazing\n100 loviugly at any foreign gocds what-\never. Art may be International ; and\nany nation which first supports and is\nproud of its Lest talent in the Thea-\ntre can assuredly look Internationally\nat the Theatre. Till it does this it\nmay not.\n\nE Y E S O F YOUTH.\nTHERE is Professor Rothenslem, that\nyoung man of fifty-four if we mis-\ntake not his age who at twenty was\ndrawing beautiful and historically va-\nluable portraits of Verlaine and other\ngreat French writers, and who since has\ndrawn for us the most important col-\nlection of portraits we possess.\nAnd there is another William Rothen-\nstein whose work at present is known\nto only a few ; this is the second\nson of Professor Ro her,stein, and it is\nto his work we would like to draw the\nattention of a few more people, for it\nhas very lovely things in it.\nWho will d seem them ? who\ncould we wish most to look ? A learned\nman? perhaps: a clever critic? not\nso bad : a fellow artist ? still better.\nBut after all there are eyes waiting to\nsee which, when they look, will give\nsomething as well as take, and they\nmust be. we suppose, the eyes of a\nyoung girl.\nFor who but a young girl can un-\nderstand the thought of an artist? that\nis why we touch on the matter\nHundreds of eyes pass and repass,\nand some, even ours, have seen some-\nthing that is lovely in the work cf this\nyoung artist: but our eyes are all clou-\nded after all we are not so young\nas is the work itself, nor so pure.\nAnd so the more young girls who\ngo to look at drawings and paintings\nby young men the better; for these\nthings are documents of the living being,\nand these documents, speaking even to\nus, will call out to them* Nor will\nthey merely whisper of 44 the lost\ntraveller's dream under the h'll \".\n\nLETTERS OF WOLFGANG\nAMADEUS MOZART Selected\nand Edited hy Hans Mersmann: trans-\nlated from the German by M. M.\nBozman. Illustrated. /. M. Dent &\nSons. Price 10/6 net.\nTHIS new volume in Messrs Dent's\n44 Internationa! Library of Books\non Music \" gives us nearly three hun-\nd ed pages of delightful letters, covering\nthe whole of the composer's life froui\nearly boyhood until his death in 1791;\nletters intimate, vivacious, and illumina-\nting all the inner relations and vicissi-\ntudes of Mozart's life, as well as throw-\ning much light npon his work and\nhis relations with the public men of his\ntime, and his own reactions and esti-\nmates respeebng them.\nHere we have the life of the courts\nand opera houses and drawing-rooms ;\nof the poor lodgings to which he re-\nturned after his triumphs; the family\ntrials ; the little but affectionate conflict\nwith his remarkable father; his love\naffairs and marriage; in fact the man\nhimself revealed in his own words, in\nhis response to others, and in their cri-\n* ticisms of him. It is all informal, spon-\ntaneous, and charming, for even the\nseemingly severe but so affectionate let-\nters addressed by Leopold Mozart to\nhis son, when read after a lapse of a\ncentury and a half, retain all that en-\ngaging quality the man possessed and\nwhich made him so loved by his great\nson.\nThat this book is not as good as the\nsource from whtch it was drawn cannot\nLe helped. For the English reader\nnothing can improve upon Edward\nHolmes' 44 Life of Mozart \" in which all\nthese letters appeared first in English.\nThat book is one of Dent's 44 Every-\nman Series \" and is one of the most\nenchant ng things to read ; and it al-\nways seems to me a pity to forget or\nhelp the public to miss the best bock\nfor the s*ke of biinging out a merely\ngood book.\n\nthe racy and romantic frankness which\ncharacterises the tales.\nMargaret of Angouleme, Queen of\nNavarre, wrote this book about four\n' years before her death in 1549 for\nthe amusement of her brother Francois\nI, when the 44 Decameron ** had been\nrecently translated into French by An-\ntoine Le Macon, who, with Rabelais,\nBonaventure Desperiers (another jovial\nteller of tales) and other kindred spi-\nrits formed the retinue of wits, poets\nand phi'osophers which Margaret liked\nto gather around her."}, {"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.48", "texte": "LAST WORDS.\n\nA 1500 PLAN OF VENICE.\nIN this number 44 The Mask \" continues\nthe series of Topographical Plans of\nCities which have included platisof Rome,\nParis, London and Florence, with a plan\nof Venice, of which the first six sections\nare published this quarter, and the re-\nmaining six will be issued with the Ja-\nnuary-March part, 1929.\nThis magnifioent plan, the original\nwoodblocks of which are preserved in\nthe Museo Civico of Venice, is dated 1500.\nPompeo Molmenti. in his learned and\ndelightful work, 4* La Storia di Venezia\nnella Vita Prlvata referring to this\n'• most beatiful plan says that it 44 was\nfirst believed to be by Alberto Durer and\nis now attributed tojacopo de' Barbari \"\n(circa 1450 circa 1516),\nThomasOkey, in his 41 Old Venetian\nPalaces \" (J. M. Dent & Sons, 1907) also\nwrites of it as 44 the map of Venice, va-\nriously attributed to Albrecht Durer, to\nMantegna, and others, but now generally\nascribed tojacopo de' Barbari \", and adds\nthat 44 In November 1499 Antonio Kolb,\na German, who had printed a map of\nVenice at great expense, which he sold\nat three ducats, applied to the Privy\nCouncil for permission to export copies,\nwhich permission was granted \".\nBryan's Diclionary of Painters and\nEngravers (G. Bell & Sons, 1904) in the\nBiographical Notes on de' Barberi, says,\nreferring to this publication by a Oer-\nman: 41 ... some time before 1500 tarbarj\nmust have been back in Venice for at\nthat time he executed an immense plan\nor birdseye view of that city, which was\nengraved on wood, and published by\nAnton Kolb, the head oj tho German\nmerchants settled in Venice \".\nWe shall publish further notes on\nthissplendid plan next quarter, supplying-\nfacts relative to the Venetian Theatres,\nMeantime we offer our readers the first\nsix plates,\n\nMORE HUMBUG ABOUT\no BRITISH ART. o\nAN EXTRACT FROM THE LONDON\nDAILY MAIL \" NOVEMBER 29 1928.\nO BRITISH BALLET. o\nM. DIAGHJLEFF TO AID NEW ENTERPRISE.\nSTEPS are being taken for the forma-\ntion of a British Ballet on the lines\nof the famous Russian organization, of\nwhich M. Serge Diaghileff is the head.\nM. Diaghileff is giving his help to the\nproject.\nThe organizers hope to make the\nballet all-British within a year\\ but lead-\ning , Russian ballet dancers are likely to\nfigure in it ct first.\nTo some extent the existing Rus Fan\nBallet ana the British Ballet may inter-\nchange zvhen the movement obtains a firm\nfooting, and the British ballet dancers\nmay be seen at the Riviere resorts and\nelsewhere on the Continent.\nReticence is at present being shown\nby the organizers, but it is believed that\nno difficulty has been experienced in rai-\nsing the capital for the British enterprise.\n\" It is likely that we shall have a\npreliminary run in the provinces before\nthe ballet is seen iu London \" said one oj\nthe organizers, yesterday.\nALL of which is humbug.\nMere British money doesnT make\nit a British work.\nIf there's British money to spare why\nwasn't it given when Stratford on Avon\nwanted it for Shakespeare, who is British ?\nWe all know of course that in M. Dia-\nghileff's corps de ballet are several young\nEnglish ladies ; but instead of being in\nany way at all expressive of the English,\nthey merely imitate their Russian sisters.\nThey splash around very skilfully but\nare prac' ically dancing a Russian-French-\nItalian dance.\n\" But we in Russia,... we could not\ndance in 1750,.. and we sent for French\nand Italian dancers to teach us how to\ndance. Why are you so against the same\nidea for England? \".\nSo said a brilliant Russian artist to\nme last month ; and he's a dear good\nfellow into the bargain.\nlike 1\n', I happen to.be an Englishman,\naud I can t swallow his prescriptions.\n1 giant that it's one way to establish\na school of dance in Britain,... but it's\nTH<? second-best way: and if England is\ngoing in for second- bests I'm not going\nto be one of those to stand for it. It's the\nsame way with Sir Thomas Beecham (i).\nanization, if he is going to hobnob with the\nDiaghileff group, utterly unaware that\nhe is being used, played all over the\nplace, and if he is bent on doing a se-\neond-best British affair, The Mask is not\ngoing to stand for that either\nH's as paitrv as tbe Stratford on\nAvon idiocy. And it's unbusiness-like.\nWhen vou have no big streams and\nneed wood-pulp for paper, vou don't go\na firm and combine with a foreigner- vou set\nout properly like Northcliffe did and\nRothermere does. You establish the thing\non your own. It's all British or it's a\nfailure for Englishmen.\nSo with Theatre, with Opera, with\nexperienced in rat Ballet. The Foreigner must be kept out.\nAnything else is wretched bad business ;\nand, into the bargain, breeds a hybrid\nkind of spul.ioUs Theatre, Opera and Bal-\njet which is not worth a tinker's oath.'\n(l) For a letter from Mr. Gordon\nCraig to Sir Thomas Bee chant respectmg\nall-British Opera, see page..*\n\nRUSSIAN BLINDNESS\nMr. GORDON CRAIG SENDS US THE\nFOLLOWING LETTER and NOTE. J.S.\nYours sincerely\nV. N. POLOVTSEV\nPlenipotentiary Representative\nof the Russian Red Cross USSR.\nTHE RED CROSS SOCIETYOF RUSSIA. U.SS.R.\no 150 Southampton Row, London, o\n000 sth December 1928. 000\nDear Mr. Craig,\nWe beg to approach you this Christ-\nmas with a request to grant your kind\nassistance towards the work of the Rus-\nsian Red Cross USSR.\nA large part of the Red Cross atten-\ntion has lately been directed towards or-\nganisation of fi Children's Sanitary\nCamps as for instance in the Crimea,\nfor weak and delicate children of needy\nparents in order to enable them to get\nresty exercise and medical treatment\namidst beautiful scenery and healthy air.\nAltogether our work is concentrated\nnow, in Peace time, chiefly on rendering\nhelp to infants and children who nee a\ncare and assistance. We hope that the\nnew generations may become more fit to\nfulfil the Great Hope of the World:\nPeace and Frindliness among all Nations,\nTrusting to have vour kind support.\n1 am,\n\nE. G. C.\nmtmmmmmmmmKmmmmmmmmmmmmmmmmamammmmmmmmmmmmmmmmmmmmmmmmmtmmmmmmmmmmmmmammmmm\nTHIS seems to me to be a very cruel\nappeal.\nThousands of London children, and\nBritish children in the mining districts\nneed food and fresh air, and every penny\nof our money which we can spare should\ngo to these little British people.\nAnd here comes a Society from Rus-\nsia, settles in London and begins to or-\nganize a scheme to drain away the life\nblood of our poor little English kids.\nOne of the cruellest things I've heard\nof for years.\nIt seems to me incredibly blind of\nthis Society not to be able to see that by\nappealing for money from England it\nrobs our English children of the money\nthat it raises. I said as much when wri-\nting to Dr. (Mrs). V. N. Polovtsev.\nHer address is 150, Southampton\nRow, London ; and if anyone has a pas-\nsionate preference for Russian Art, Ballet,\nand the rest, they ought to think it over\nand see whether they can find £ 50 to\nsend to this Russian Red Cross.\nBut they should think it over first.\n\nMORE HIGHBROW FUN.\nA LONDON Journal, referring to the\nrelease of a new film The Postmaster,\nstates :\n\" The story, being Russian, is\nneedless' to say a tragedy ; Russian *\nproducers decline to deal in anything\nmore frivolous. It is noteworthy for the\nacting of Ivan Moskwin (not to be con-\nfused with Mosjoukir.e) to whom we are\nintroduced for the first time. Moskwin\nhas been described as u the Irving of\nRussia and the title is deserved \".\nFor Mosquin is essentially a come-\ndian ; though he has often succeeded in\nroles which are more gloomy, a great\ntragedian he is not; and to call him the\n\" Irving of Russia \" is incorrect enough\nwithout following it up with 41 the title\nis deserved \". Mosquin resembles 110 one\nbut himself. In his way he is an incom-\nparable actor, with a style entirely his own,\nfounded on a careful study of all that is\ngood in the traditional stage of Europe.\nO\nTHE END\nO F\nVOLUME XIV.\n\nAll Rights reserved. December 1928.\nDirettore responsabile Antonio Maraini.\nTipografia G inn lin a, Firenze."}, {"page_pdf": 49, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.49", "texte": "I.\nPlan of l'euice 1500.\n\n■THE MASK 1928"}, {"page_pdf": 51, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.51", "texte": "THE MASK 1928.\n\nII.\nPlan of Venice 1500."}, {"page_pdf": 53, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.53", "texte": "III.\nPlan of Venice 1500.\n\nTHE MASK 1928."}, {"page_pdf": 55, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.55", "texte": "IV.\nPlan of Venice 1500.\n\nTHE MASK 1928."}, {"page_pdf": 57, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.57", "texte": "V.\nPlan of Venice 7500.\n\nTHE MASK 1928."}, {"page_pdf": 59, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.59", "texte": "| WHO WILL QUICKLY SUPPLY YOU WITH \"THE MASK\". |\n|lnNl n O N LIVERPOOL. 1 COPENHAGEN I\nF mm ruM<~c c r i Messrs M. Grant 8c Son. Bluhmes Boghandel\n3REAMS BUILDINGS, E. 4. 88c 9 The Arcade. Lord St. Kobmagergade 38\nMessrs W. Dawson 8c Sons. CTCD Engelsen & Schroder\nCannon House. j\\lA.!NGrlll.is 1 L.t\\. Frederiksberee 15\nCHARING CROSS ROAD. Mr Charles H. Barber. 1 j\n. Messrs Danielson, No. 64. 5 St. Ann Street. AMERICA.\nI Mr. F. Henderson, No. 76. Messrs Simpson 8c Dickens. NIFYX/ YORK\nh v!r' p' eaumont' sv°' 11' 59 Cross Street. Brentano's. 1 West 47t'h St. I\nCHARLES STmHAYMARKLT\" OXFORD. Gotham Book Mart. I\nCHARLES SI. HA rMAKK.fc.I. Basil Blackwell. 51, West 47th St.\ni 1 Messrs Bickers 8c Son. , c ~, , - c n l l _\n1 cDi iRv ct c; W 50 8c 51 Broad Street. Washington Square Bookshop.\nEBUKY St. O. W. ■ 27 West Bth St\nM^3!sS^°\"e.r g Jr*W' IRELAND - Drama Book Shop. 23West 47th St.\nI L IT' , 111 I DUBLIN j. B. N«um.n». 35 W,u 57,h 3,. I\n14 South St. E. C. 2. Messer Hodges & Figgis funw,£e 5' E\" 4*'h\nPATERNOSTER ROW. 20 Nassau St. A\"ier'fan La„rilto'y ,\ny r Of L »KT Q ——— I J OOOK SnOD ** Z2.. 1 dSt 7 4tll\n{Messrs Hunter & Longhurst. No. p. |—» Dr^cnr/^M\n| Messrs Simpkin. Marshall. 1 EUROPE . I\nPICCADILLY. Pr nRPMPF Smith 6C McCance.\nHatchards, 187, Piccadilly. c , T L 5 Ashburton Hace<\nI PORTUGAL STREET. Seeber. 21 Via Tornabuoni. CHICAGO. I\nMessrs W. H, Smith 6c Son. I JVIIL.ANO. Brentano's, Wabash near Adams,\nStrand House. Treves. 64 Galleria Vitt. Eman. The Walden Book Shop.\nQUEEN STREET. 410 Michigan Avenue North;\nMessrs Jones & Evans. R O IVI A • & 301 Plymouth Court.\nTRAFALGAR SQUARE. Libreria \" Modernissima \" q RVELAND OHIO\nMessrs Stevens & Brown No. 4. delle Convertite RichardLaukhuff. 40Tlylor Arcade. I\nWIGMORh b1 . Treves, Galleria di Piazza Colonna. DLJII A nci DLJI A\nMessrs Glaishers. Libreria Liberma. 37 Via Ludovisi. * rll/\\#\nBIRMINGHAM. PARIS.\nCornish Bros. 39 New St. Brentano's. The Palette Book Shop.\nBRISTOL 37 Avenue de l'Op&a. 3735 Spruce Street.\n$ Messrs James Fawn & Son. Galignani's. 224 Rue de Rivoli. LOS ANGELES.\n4? Oueen s Road Shakespeare 8c Company. McManus 8c Morgan. I I\nMessrs J. Baker & Son. 12 Rue de L'Odfon. 712 Heliotrope Drive.\n; The Mall. Clifton. g BERLIN. SAN FRANCISCO.\nCAMBRIDGE. 1 I Gropius'sche Buchhandlung. Paul Elder 6c o. 239 Lost. St.\nMessrs Bowes & Bowes. |\n90 Wilheimstr w 66 TORONTO (CANADA). II\ni J. B. Neumann. Graphisches TI -r Faton rG\n|: EDINBURGH. I Kabinett. Luetzowstr 32. Book DeparLent.\nRobert Grant 8c Son. 126 Princes St. | ~1 MUNCHEN- JAPAN\nGLASGOW.! | | J- B- Neumann. Graphites J *\nMessrs John Smith |Bc Son Ltd. Kabinett. Barerstrasse 46. 1 )J'\n57 & 61 Vmcent St- AMSTERDAM. 1M 6 Nihonbashi, Tori-Sanchome.\nHASTINGS. Scheltema & Holkema. J MFXICO\nBrooker 6c Savile. 16 Robertson St. Rokm 74-76. Misrachi Agenda\nHULL. HAARLEM. Avenida Juvarez 10\nPoetry Book Shop. 48 Pryme St. J. H. De Bois. Kruisweg 68. Mexico, D. 1 .\n/ .'*w\" {.*'i, ».v / VV,\" •• jjr - ' »v- ■ . . '**\n. LONDON REPRESENTATIVE FOR ADVERTISEMENTS & ORDERS.\nMR. T. JOHN GLOVER. 61 CHANCERY LANE. NDON.\nTHE MASK PUBLISHERS. BOX 444, FLORENCE ITALY. I"}, {"page_pdf": 60, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192810-01.1.60", "texte": "p '*' c, v< v* ♦> -Vrar;\"-■■*• '• •.; ; 'S'^vaBSKHI\nri ■ i** IPti-\nfij| J THINKS WHAT IT SAYS AND THINKS j jl|"}]}