{"numero_id": "bm-bmtnaau-1929-04-01", "volume": "bmtnaau_1929-04_01", "ocr_sha256": "18e6ade2930db78ab60f5801b0b1ea32aeca2e0ad3215c713b3daa8913ad318a", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1929/04_01/bmtnaau_1929-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1929/04_01/bmtnaau_1929-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01", "articles": [{"article_id": "bm-bmtnaau-1929-04-01-c002", "article_bluemountain": "bmtnaau_1929-04_01#c002", "volume": "bmtnaau_1929-04_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=bmtnaau192904-01.2.2", "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=bmtnaau192904-01.1.1", "debut_caractere": 252, "fin_caractere_exclue": 1040, "texte": "A LETTER ON RECENT TRAVELS\nTHROUGH EUROPE by Gordon Craig.\nSIR GERALD DU MAURIER: An Appre-\nciation, by Drury Pervil.\nj\\ /ILLE. RACHEL AND HER POSSES-\nI VISIONS, being a Translation of the Cata-\nlogue of the sale held after her death, (Part 1)\nwith a Foreword by X. Y. Z.\nAN INTERVIEW WITH GORDON\nCRAIG on recent Proposals made him in\nLondon by an unreliable Manager whose name\nhe forgets ;by Lois Lincoln.\nTHE NATURAL HISTORY OF THE\nBALLET-GIRL, as studied in 1847, by\nAlbert Richard Smith (1816-1860).\nNOTES ON THE AMPHITHEATRE OF\nARLES; THE \" BALLI TEATRALI \"\nOF LAMBRANZI; ON \" WASTE \", MA-\nRIONNETTES, BRINGING THE SO-CAL-\nLED BRITISH STAGE TO ITS SENSES,\nDESIGN IN THE THEATRE; ON MILORD\nBYRON, MR. HAROLD NICOLSON, AND\nMR. P. G. WODEHOUSE, BROUGHT\nTOGETHER; and many other matters."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c003", "article_bluemountain": "bmtnaau_1929-04_01#c003", "volume": "bmtnaau_1929-04_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=bmtnaau192904-01.2.3", "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=bmtnaau192904-01.1.1", "debut_caractere": 1042, "fin_caractere_exclue": 1306, "texte": "ILLUSTRATIONS\nA DESIGN FROM THE \" BALLI TEATRALI\" OF LAMBRANZI. TWO\nDESIGNS SHOWING THE THEATRE OF ARLES, IN ITS ORIGINAL STATE\nAND AS SEEN IN 1666 BY M. JACQUES PEYTRET. THE BALLET-GIRL\nIN MANY SCENES OF HER DAILY AND NIGHTLY LIFE BY HENNING,\nGAVARNI AND GILBERT."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c004", "article_bluemountain": "bmtnaau_1929-04_01#c004", "volume": "bmtnaau_1929-04_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=bmtnaau192904-01.2.4", "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=bmtnaau192904-01.1.2", "debut_caractere": 523, "fin_caractere_exclue": 1432, "texte": "LITERARY CONTENTS.\nDURABILITY\nA LETTER ON RECENT TRAVELS THROUGH EU-\nROPE .........\nSIR GERALD DU MAURIER, An Appreciation . .\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS ........\nDESIGN IN THE THEATRE\nMARIONNETTES AND THE ENGLISH PRESS . .\nTHE BALLET-GIRL . . . . . . .\nWASTE, being some Observations of a Rambler . . .\nBRINGING THE SO-CALLED STAGE TO ITS SENSES.\nTHE CAMBRIDGE SHAKESPEARE . . . .\nON CREATING AND DESTROYING, and Lambranzi and\nhis Book of Dances . . . . . .\nTHE AMPHITHEATRE AT ARLES ....\nWHAT ABOUT IT ? An Interview with Gordon Craig .\nJ. S page 41\nGordon Craig . . . . .43\nDrury Pervil 45\nTranslated by D. N. L., with a Fore-\nword by X. Y. Z. . . . 48\nGordon Craig 57\nC. G. E 60\nAlbert Richard Smith 1847. . .61\nAnon. . . . . . .72\nJohn Furse 73\nD. P .74\nJ. S. . . . . . .75\nJ. S 76\nLois Lincoln . . . . .77\nGRAMOPHONISM. CORRESPONDENCE. BOOK REVIEWS. EDITORIAL NOTES. LAST WORDS."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c005", "article_bluemountain": "bmtnaau_1929-04_01#c005", "volume": "bmtnaau_1929-04_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=bmtnaau192904-01.2.5", "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=bmtnaau192904-01.1.2", "debut_caractere": 1434, "fin_caractere_exclue": 1826, "texte": "ILLUSTRATIONS.\nA DESIGN from the \" Nuova e Curiosa Scuola di Balli Tea-\n.\ntrali Lambranzi . . . Plate 4. Face 41\nTHE AMPHITHEATRE OF ARLES in its original State. Jacques Peytret . . ■ 5. ■ 76\nTHE AMPHITHEATRE OF ARLES as in 1666 . . » » . . \" 6. Precede 77\nTHE BALLET GIRL. Many scenes from her Life . . Henning, Gavarni & Gilbert Pages 61-71\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c006", "article_bluemountain": "bmtnaau_1929-04_01#c006", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[40]", "page_fin": "[40]", "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=bmtnaau192904-01.2.6", "titre_corps": "FROM LAMBRANZI'S BALLI TEA TRALI 1716", "titre_sommaire": "FROM LAMBRANZI'S BALLI TEA TRALI 1716", "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": "[40]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 60, "texte": "FROM LAMBRANZI'S BALLI TEA TRALI 1716.\nSee page 75.\nPlate 4."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c007", "article_bluemountain": "bmtnaau_1929-04_01#c007", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.7", "titre_corps": "DURABILITY : HERE TODAY AND GONE TONIGHT", "titre_sommaire": "DURABILITY : HERE TODAY AND GONE TONIGHT", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.5", "debut_caractere": 15, "fin_caractere_exclue": 1266, "texte": "DURABILITY\nHERE TODAY AND GONE TONIGHT\n\nAS I glance through the pages of this number of \" The Mask \"\nI am reminded of the transience of things.\nAnd of Theatre things in particular, and they seem as\nthough they were never-green.\nActors, dancers, plays, are here today and gone tonight, not\neven waiting till tomorrow gone, leaving behind them catalogues\nof sales, ...some laces, some wines, some fancy dresses... records of a\nmomentary hesitation, as if uncertain why they were here, and they\nare gone before we are made certain.\nWe admit to a sense of anger at the thought deeper than impa-\ntience. Futile, of course, but that anger which the poet felt when he\nfirst took the full measure of life and death and determined to create\ndeathless things.\nFor something which carries on for six hundred to a thousand\nyears almost satisfies us that it is deathless. Yes, a thousand years\nare something bravo poet! you can really be said to have put it over.\nWe suppose \" there is nothing to put in the field which can\nbear comparison with...\" what was that immortal stupidity uttered by\nWilliam Archer at the close of the war when excusing England for\nnot having equipt and placed her best theatre men in a group facing\nReinhardt and his well equipt people ?"}, {"page_pdf": 6, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 265, "texte": "We are to suppose, then, our Theatre can t be permanent, can t\nleave something to live for a thousand years.\nAre we to suppose that when we know it to be untrue ?\n\" What can you leave which shall live so long ? ' you ask.\n\" Are you merely curious ? \" we ask.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c009", "article_bluemountain": "bmtnaau_1929-04_01#c009", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "45", "image_debut": 7, "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=bmtnaau192904-01.2.8", "titre_corps": "A LETTER ON RECENT TRAVELS THROUGH EUROPE", "titre_sommaire": "A LETTER ON RECENT TRAVELS THROUGH EUROPE", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3145, "texte": "A LETTER\nON RECENT TRAVELS\nTHROUGH EUROPE\nBY GORDON CRAIG.\nDEAR SEMAR.\nIn these last moments people call\nthem months sometimes all sort of\nabsurd things, and delightful things and\npeople, lovely things and people, have I\nseen and heard, and it's when the full\ntide comes on that I have at times written\nto you. In 1908... wasn't it?.. I wrote\nyou of Miinchen and Moscow and\nEngland.\nThese last months I have been in\nParis, in Berlin, Weimar and London.\nAdd to these Heidelberg, Mannheim,\nBoulogne-sur-Mer, Karlsruhe, Lyon, and\nCormery and a place called Schwezingen.\nI went to all these places quite alone,\nbut in every place I met friends and\nstrangers, and one quite strange sort of\nbeing of whom I may tell you something\nor no if the light permits.\nIt was when listening to the immortal\nsong \" C'est vous \" that I met the strange\nbeing in one of those ultra modern pla-\nces in Paris ...but it would take ages to\ntell you the story and so we will come to\nthat next quarter, not now.—\nIn Mannheim I bought one interest-\ning book on the Theatre published in the\nearly part of the 19th century, wherein\na \" producer \" of that day had described,\nstep by step, how to produce an opera ;\nhe manages to fill some two hundred pa-\nges describing how it is to be done.\nThe book is the only remembrance I\nhave of this place ...excepting a very bright\nhalf-hour in the museum when Miss Stoll,\nthe assistant of the director of the archives,\ntold me many an interesting thing about\nthe old Theatres of the place.\nI then went on to Paris ; there I met\nwith another curious figure ...a certain Eng-\nlishman who styles himself the Comte\nd'Angleterre.\n1 could write a history of this man,\nbut I doubt whether 1 shall have the time.\nAn austere being devoting his time,\nstrength and money to others, he passes\nalmost unnoticed amongst those celebrities\nin Paris who are said to be somebodies.\nIn Paris too I came across that re-\nmarkable theatrical genius M. Diageliev.\nI have never seen anyone look older than\nhe can look at 12 o'clock midday and\nthen at 8 o'clock the same evening look\nand be the youngest man in the city. He\ninvited me to his box at the Opera House\nto see four of his ballets ....four on the\nsame evening..! I almost think that four\nis two too many.\nA most enjoyable hour and a half I\nspent following the two first ballets,\n\" L'Oiseau- de Feu \" and \" Apollo \",\nboth composed by Stravinski. I for my\npart preferred the \"Apollo \" to the other.\nI can imagine no more delicate piece\nof work than the arrangement of the\ndifferent sections of this second ballet, this\n\" Apollo \".\nEverything conspires in it to cheat\nus but ail is done openly and beauti-\nfully.\nThe arrangement of this Ballet was\nby Georges Balanchine, a man of a\nfine creative talent. The dancers were\nSerge Lifar and the three ladies, Danilova,\nTchernichera and Doubrovska, and all\nfour enchanted me.\nThere was only one fault in this ballet\nand this one fault is the unwillingness or\ninability of the arranger to make his ballet\nin one piece. It was broken up into ten\nor twenty or thirty sections. Nature in\nthis respect does better than he. Clouds\nseas rain storms - sciroccos —»"}, {"page_pdf": 8, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3210, "texte": "always proceed without a break; no\nmatter what the contrasts or what the\nharmonies, in nature all goes on from its\nstart to the conclusion of its performance;\nthere is no break, there are no jerks no\ngoings forward only to go back —no\ngoings round all advances and always.\nAnd when I came to London and\nvisited the Exhibition of Dutch Art and\nstood before the mighty landscape\n(No. 227) by Philip Koninck I realized\nthat great painting also proceeds from start\nto end in a single unbroken series of\nadvancing waves. It may take hours for\nthe spectator to follow these ; it does in\nKoninck's landscape ; but the rhythm never\nsuddenly breaks not once.\nI thought this the most wonderful\npainting of all the 921 items of the show.\nIt's manner is the grandest manner of\nShakespeare or Bach and this explains\nwhy hardly anyone stopped to look at it,\nand there must have been some 1300\npeople at Burlington House on the day I\nwent in.\nThe Catalogue, which honours some\nof the artists by a word or two of mention,\ndoes not stop to speak of Koninck. He\nwas born in 1616 and died in 1689.\nThe success of M. Diageliev's Paris\nperformances was greater than ever ...and\nindeed this is not hard to understand, for\nit is today the best ballet in the world,\nand never was the troupe stronger nor\nthe inventions of M. Diageliev more\nhappy.\nMy only reason for not waiting to\nsee the whole four ballets is that I had\nhad enough. I didn't want to forget the\nloveliness of \" Apollo \".\nI sometimes wonder why it is that\nthe spectators are not given two ballets\nand then asked to say which of the two\nthey would like repeated. I would have\ncalled for \" Apollo \".\nIn Berlin there was a production I\nwould willingly have seen twice over\n...the German version of \" The Beggars'\nOpera\", but I fell ill and could not.\nIn Berlin I nearly died. None of my\nfriends knew of this at the time and so\nit does not matter.\nIn London I saw \" Journey's End \"\nat the Savoy Theatre; ...a money making\npiece well done by actors.\nIn London I heard of five people\neach of whom is going to \" save the British\nstage\". One is a rather lame copy of\nIrving's less intelligent son ; another is a\nhairdresser ; a third drops his Hs and\nso on.\nMy one disappointment was on disco-\nvering that at the Ambassadors Theatre\nthe brilliant young actress Miss Marda\nVanne was out of the cast.\nI had long promised myself I would\nsee her work.\nWhile the flimsyest excuse is for me\nexcuse galore for mentioning Miss Marda\nVanne, I shall have a very grave reason\nfor doing so soon and shall come to that\nin the next but one issue of \" The Mask\nFor I shall then prophesy !\nAs I have always been labelled a\nprophet I intend to prophesy with care.\nI shall prophesy that if Miss Marda Vanne\nreturns to act in England she will be seen\nas and I will even prophesy that she\nwill do it better than did Sarah Siddons\nor Sarah Bernhardt.\nI shall name the part in the next but\none number.\nNow who any longer says I am a\nprophet ? ...for what prophet risks all on\na single cautious throw like this. Call\nme a gambler in future.\nI have also discovered a \" Hamlet \"\n...a man fitted to play it] surprisingly well\n...an Englishman, and one who never\ndreamed it possible, does not now dream."}, {"page_pdf": 9, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 612, "texte": "it, for I've not yet told him he was born\nto play it and better than John Kemble.\nIn Paris, by the way, I met one of\nthe Footes a descendant of the great\ncomedian of the 18th century Samuel\nFoote. We lunched together at the Cafe\nde la Paix and he showed me a snuff box\nwhich came down to him from his great\ngrandfather.\nIn Paris I was reminded of that line\n... is it by Dryden or by Pope ?... \"\nmen to business, some\nand indeed no where else can the two\nstreams of serious and playful men be so\nclearly defined nor more markedly\ndivided.\nIf anything your Parisian is more so-\nlemn than he was, and more charming."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c011", "article_bluemountain": "bmtnaau_1929-04_01#c011", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 9, "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=bmtnaau192904-01.2.9", "titre_corps": "FIVE WORDS ABOUT THE THEATRE", "titre_sommaire": "FIVE WORDS ABOUT THE THEATRE", "signature_source": "James Huneker", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.9", "debut_caractere": 614, "fin_caractere_exclue": 1210, "texte": "FIVE WORDS ABOUT THE THEATRE\nJames Huneker.\nThe theatre is a mirror of life. Sophocles.\nThe stage is a grand and serious thing. It has a\nnational mission, a social mission, a human mission.\nVictor Hugo.\nThe ohject of the theatre is not to teach us what this\nor that particular person has done, but what every person\nor certain character under certain circumstances would do.\nLessing.\nThe theatre is called the people's school. It teaches\nus to feel and to think. Maxim Gorky.\n\" Why is it that millions, are spent on pictures, libra-\nTies, orchestras, churches, but not one cent for the theatre? \""}]}, {"article_id": "bm-bmtnaau-1929-04-01-c013", "article_bluemountain": "bmtnaau_1929-04_01#c013", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "47", "image_debut": 9, "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=bmtnaau192904-01.2.10", "titre_corps": "SIR GERALD DU MAURIER : AN APPRECIATION", "titre_sommaire": "SIR GERALD DU MAURIER : AN APPRECIATION", "signature_source": "DRURY PERVIL", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.9", "debut_caractere": 1212, "fin_caractere_exclue": 2862, "texte": "SIR GERALD DU MAURIER\nAN APPRECIATION\nBY DRURY PERVIL.\n\\\\/ HAT a mood I am in tonight to\nV ™ write an appreciation even I\nand who is more fitted to write the\npraises of people and things he has known\nto be good than one who, spite of all\nother failings, never has failed yet to ap-\npreciate almost all things.\nYet it is not my appreciation of Sir\nGerald du Maurier that I may put into\nwords, for I have but seen him four times\nin rny life. First coming down a passage\ncalling out \" Why that can only be Drury\nPervil and most kindly shaking my hand.\nAn old man now, 1 perhaps note with\ntoo much sentimentality that my hand is\nstill shaking a little at the remembrance,\nand this is a pity since 1 write my\nown bits with my hand and have not\nused a typewriting machine in my life.\nThe last time I saw du Maurier was\nat a funeral of an old unknown lady he\nhad known, and he came there, as indeed\nI, because we had both rather loved her.\nI was sent to report, but I should have\ngone anyhow. I say she was unknown\nbut I exaggerate a little ; she had been\nknown had been what is called famous,\nand indeed many filled the little church at\nDoveside, a hamlet on the Wyvil, to see\na famous person laid to rest. Few even\non that summer's day exactly remembered\nher—but they recalled her fame. Today\nhardly a soul remembers that either. I\nhave a curious proof of this which is\nneither here nor there. But to see du\nMaurier there was touching ; ...to hear his\nvoice, to recall today what it was he said:\nhe spoke more forcibly than I had deemed\npossible in such a gentle nature. What\nhe said does not concern anyone but me\nand a very few members of the profession"}, {"page_pdf": 10, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3354, "texte": "of which Sir Gerald du Maurier is in a\ncertain sense the head.\nAnd so I have but scant matter from\nwhich to make up any tale about du\nMaurier worth hearing ; and I had best\nadmit without more ado that it is another's\nappreciation 1 am concerned with and\nwould like to speak of.\nThe writer of this \" appreciation\nis Augustus Muir, and many thousands\nof people will have read it for it appeared\nin a recent number of London's most po-\npular monthly magazine.\nA charming sketch it is and illustrated\nwell; I now see his lovely old house in\nHampstead for the first time, and the\npretty place he owns at Ferrybridge near\nFowey down in Cornwall.\nIn this appreciation I get a perfectly\ndirect picture of a very simple man who,\nwe are given to understand, hides himself\nunder very elaborately devised manners\nwhich only a very versatile actor could\ninvent.\nDu Maurier, more sensitive than most\nartists when he grows serious, is indeed\ncharming ; then he will stop to say that\nit \" must be wonderful to understand the\nfeelings of birds and animals \" and then,\nstopping, says no more gives no hint as\nto what it is we miss ; and there he\ncommits no blunder.\nI was once bitten by a parrot : a\ndear old lady I know, lay dangerously ill\nfor nearly three months having been bitten\nby a dog: so that probably du Maurier\nand I have different ideas about the thoughts\nand feelings of animals and birds and\nI envy him should he be able to nurse\npleasant illusions about them.\nMr. Muir's sketch is in his lightest\nbest vein, and yet he manages to give\nthose of us eager to know how much\nwork Sir Gerald had done a very proper\naccount of it. I had not realized that\nthe popular actor had held Wyndham s\nTheatre for fifteen years and during that\ntime had put on twenty-four plays and\nmade twenty-one of them into successes.\nThat is certainly an astonishing re-\ncord, and explains that his lovely large\nhouse and his motor and all the jolly\nluxuries which usually belong to an Eng-\nlish actor-manager have all been won by\nthis one off his own bat.\nThere is one thing more I remember\nof him. When I was once in his dres-\nsing room at his theatre in search of an\ninterview to enliven the pages of my old\nFleet Street daily, he pointed to a draw-\ning by his father George du Maurier,\nthat rare and to some of us that dear\nartist, which hung on his wall and I went\nup to look at it. \" It's the whole family \"\nhe said, and there right enough they were,\n...that loveliest of families, father, mother,\ndaughters, sons in one long line from\ntall to tiny, seven or eight or nine, I\nforget now, following the leader ...and\nlast of all came the tiniest boy of the\nfamily.\nAs 1 looked I heard du Maurier's\nvoice going on behind me in a mecha-\nnical way ; it said \" All of them are dead\nbut the last one and that's me \". It is\nnot at such moments that I for one would\nhear the voices of birds saying anything\nI could understand ; at such a moment it\nis only the voice of someone like Chopin\nI could hear when he speaks as he does\nin Etude 7 in C sharp minor. Birds\nsinging out ever so . joyously would not\nhelp nature doesn't come down\nunless to kill you. To accompany and\nrelease your thoughts gently like a nurse\nnature seldom does that.\nChopin plays his way mercifully on\nas I write this on my gramophone,\nreleasing much that we at times have such\nneed should be set free in us. Golf is"}, {"page_pdf": 11, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 2473, "texte": "good - oh yes and cricket and ten-\nnis and even theatres and the poor old\njournalism I peg away at daily : all quite\ngood ; and the stars are good, and the\ncold moon too, ...and the memories of\ngold-wheat hair and a voice from the stage\nsaying \" And so I am, 1 am \" pouf,\nhere for some unknown reason I fall to\nthinking of my old days up in Liverpool\nwhen that actress ...what was her name\n...let it go ...used to come the rounds and\nI once heard those words of Cordelia ring\nout and it's like me and my infernal\nsense of appreciation to have treasured the\necho so long.\nYes, all these things are good when\nour nerves are strung up, but it is only\nmusic, and especially Chopin, that can\nbring me them back to my senses, bringing\nback more, much more, ...indeed all I love\n...when in my room my Pathe twin turns\nthe disc the record and we read and\nsee through our ears.\nStrange life so full of unceasing\neffort, the effort merely to get through life\nlet alone do anything more; the daily\nround to be turned without falling off,\nwithout entirely forgetting the many hun-\ndred rounds gone by:—yet these recalled\nonly weaken one, it would seem.\nBut who shall say so, since it was\nrecalling an old friend now gone fell\nover a cliff or was dragged to death by\nan ass of a pony or some such that\nI went to the window recalling this\nfriend on hearing a Chopin prelude ; and\nthere suddenly fell from my eyes a thick\nveil ...a delusion as to her unconquerable\nname and fame ...and I saw how she too\nhad been utterly forgotten. Over there\nacross the square she and I lived\nin that Hotel ; the four windows at the\ncorner. The Bristol Hotel it was called.\nIt is now a commercial House. Her name,\nwhat was it * yes, ..«* 1 'opsy.\nI recalled in vain that she had been\nlovely born lovely and stayed so too,\nto my thoughts : all that I recalled now\nwas that she had suffered been defea-\nted, trampled to death by the hoofs\nof a pony and the tongues of mankind.\nWas an artist too.\nThese artists.., how doleful would be\nthe thought of them if again some spring\nin us did not click and let fall another\nveil before our eyes ; and click, another\nis raised and then comes the blaze of sun\nand \" The Guards want powder \" is the\ncry, ...\" and by God they shall have it \".\n\" Then let us fill a bumper and drink\na health to those\nWho carry caps and pouches and wear\nthe louped clothes;\nMay they and their commanders\nlive happy all their years,\nWith a tow row, row, row, row, row, row\nfor the British"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c015", "article_bluemountain": "bmtnaau_1929-04_01#c015", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "49", "image_debut": 12, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.11", "titre_corps": "CATALOGUE OF THE SALE OF MLLE. RACHEL'S POSSESSIONS : HELD IN PARIS FROM THE 12TH TO THE 29TH OF APRIL 1858 AT PLACE ROYALE No. 9 BY THE ADMINISTRATOR OF ME. HAYAUX DU TILLY, RUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS WITH AN INTRODUCTORY NOTE BY X. Y. Z", "titre_sommaire": "CATALOGUE OF THE SALE OF MLLE. RACHEL'S POSSESSIONS : HELD IN PARIS FROM THE 12TH TO THE 29TH OF APRIL 1858 AT PLACE ROYALE No. 9 BY THE ADMINISTRATOR OF ME. HAYAUX DU TILLY, RUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS WITH AN INTRODUCTORY NOTE BY X. Y. Z", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 2667, "texte": "CATALOGUE OF THE SALE OF\nMLLE. RACHEL'S POSSESSIONS.\nHELD IN PARIS FROM THE 12TH TO THE 29TH OF\nAPRIL 1858 AT PLACE ROYALE No. 9 BY THE\nADMINISTRATOR OF ME. HAYAUX DU TILLY,\nRUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS\nWITH AN INTRODUCTORY NOTE BY X. Y. Z.\nFOREWORD\nRACHEL & ELLEN TERRY.\nI think that a publication of a translation\nof the sale of Madame Rachel's effects\nmust surely have a number of little inte-\nresting points for the historians who are\ndotted around England and America, and\nso it is being published in The Mask\nin its entirety ; part this quarter and part\nnext.\nA curious fact to note about the\nLibrary (the list of which will be given\nin the next number), is the number of\nHistorical works that it seems to have\npossessed.\nHer wine list delights me but, puzzles\nme at the same time when 1 read that\nshe leaves 261 bottles of Desmirail-Mar-\ngaux and 7 Haut-Brion. I wonder\nwhich it was of the two Bordeaux that\nshe liked the best. Had she just got in\na new batch of Margaux because there\nhad been such a run on the bottles, or\ndid she only buy a very few bottles of\nBrion ? 1 suppose connoisseurs in wine\nwould want to know the vintage of each\nof the entries, but none were given. I\nwonder if any one of the bouteilles still\nremains to be drunk, if any one of the\ncollectors of Rachel souvenirs has been\nso sentimental as to keep one single bottle\nintact of the 1413 l/ 2 bottles; if so 1\nwonder whether this will catch his eye ;\nif so, the wine must be very old ; if\nso, the man, unless he be a fanatical\npresent-day admirer of Madame Rachel's,\nmust also be very old ; if so, what 1\nwant to say is, cannot this remaining\nbottle be sent to the Comedie Frangaise\nwith strict injunctions that it never be\nopened ?\n1 suppose that some book about the\ngreat actress would tell how much or\nhow little money the costumes went for\nthe theatrical costumes —. I know\nwhere a girdle of white used in Phedre\nwent to ; it was, and may be it still is,\nin the collection of Dame Ellen Terry.\nIt is seventy-one years since this sale\ntook place in Paris, and doubtless the things\nhave been scattered far and wide, and if\nwe wanted to collect them together again,\nit would cost many thousand pounds to\ndo so.\nThis is not entirely without topical\ninterest to us, for the attempt to keep\ntogether a few of Dame Ellen Terry's\npersonal effects is being made.\nShe left no wine cellar for she had\nno wine to leave. Books she left, and\nfurniture, ... and a little old house.\nThe plan for the Memorial was put\n: before readers of The Mask in the last\nt number. The Committee avoid making\ns any appeal beyond that which says\n[ \" Ellen Terry lived and died here, there-"}, {"page_pdf": 13, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 1705, "texte": "fore it is well worth preserving\". But\nI would add that in preserving this\nancient house in memory of Ellen Terry\nthey also preserve a piece of Tudor ar-\nchitecture in memory of England, and in\nfifty years from now not so very many\nexamples will remain of such farmhouses\nand not so very many homes have the\ndouble reason for being preserved.\nAnd preserving all this, what a cu-\nrious English custom is preserved. Will it\nbe realizable fifty years from now that in\n1900 the Londoners, weary with the\nweek's work, tired of the new styles of\nhouse construction which filled all available\nspace in London, fled not merely from\nthe city to the country, but from their\nnew jerry-built houses to the steady old\ncottages. The older the better, they\nfound for the older, the firmer was the\nbuilding, the more pleasant were their days\npassed in such a building.\nIt's a strange mood, this of taking\nflight from today, backing down two or\nthree centuries. And down amongst the\nold timbers and the silence the mind of\nthose days, of 1900 and thereabouts, train-\ned new bowers of rose and clematis\naround the house or cottage into which it\nhad taken refuge.\nAnd in these bowers and under this\nroof who was there in the English world\nof that day who did not come to talk\nto and to listen to Ellen Terry.\nSome of these visits have been re-\ncorded in a manuscript, and the type-\nwritten record is to be preserved in the\nMemorial. At least so lam told and\nonly to be read in that house.\nAnd I have heard of other delightful\nideas which, when carried out, will make\na visit to this house something like a\nvisit ...but I am not yet at liberty to disclose\nmore of the Committee's plans which,\nwhen I heard them, delighted me."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c016", "article_bluemountain": "bmtnaau_1929-04_01#c016", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "54", "image_debut": 13, "image_fin": 18, "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=bmtnaau192904-01.2.12", "titre_corps": "CATALOGUE : LINEN, WARDROBE, GUIPURES, AND LACE OF PERSONAL USE; TABLE AND HOUSEHOLDLINEN", "titre_sommaire": "CATALOGUE : LINEN, WARDROBE, GUIPURES, AND LACE OF PERSONAL USE; TABLE AND HOUSEHOLDLINEN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.13", "debut_caractere": 1707, "fin_caractere_exclue": 3300, "texte": "CATALOGUE\nLINEN, WARDROBE, GUIPURES,\nAND LACE OF PERSONAL USE;\nTABLE AND HOUSEHOLDLINEN.\n(')\nSECTION ONE.\nLINEN\n1. Linen handkerchiefs.\n2. Plain batiste handkerchiefs, embroidered\ninitials.\n3. Plain batiste handkerchiefs, trimmed\nwith Valenciennes.\n4. Rich handkerchiefs of batiste, plain or\nembroidered, trimmed with deep Valenciennes.\n5. Handkerchiefs of (2) trim-\nmed with deep Valenciennes, with escutcheon\nwith the emblems of Tragedy.\n6. Turkish handkerchiefs of batiste, em-\nbroidered in coloured silk.\n7. Handkerchiefs of fil d'aloes, trimmed\nwith dentelle d'aloes.\n8. Chemises of embroidered cambric.\n9. Chemises of nansouk trimmed with lace.\n10. Chemises of linen trimmed with lace.\n11. Chemises of embroidered linen trim-\nmed with lace.\n12. Chemises of batiste trimmed with lace.\n13. Chemises bouillonnees. (puffed).\n14. Chemises of embroidered linen trim-\nmed with lace.\n15. Nightgowns of nansouck trimmed\nwith lace.\n16. Nightgowns of linen, embroidered.\n17. Peignoirs, embroidered and trimmed\nwith lace.\n18. Embroidered camisoles.\n19. Plain petticoats.\n20. Embroidered petticoats.\n21. Petticoats trimmed with lace.\n22. Embroidered pantalons.\n23. Cotton stockings.\n24. English stockings.\n25. Stockings of Scotch thread.\n26. Silk stockings.\n27. Flannels.\nThe above articles, and a large number of those\nwhich follow can be sold separately.\n\n(1) We have followed the order as published of the list of the\nsales day by day save in regard to the Personal Jewelry, which we\nhave omitted this quarter and shall give in our next number with\nthe list of the Books. Ed,\n(2) Thread of alloes."}, {"page_pdf": 14, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 3006, "texte": "v/\no WARDROBE o\n, I I ■ ■\"\"r \"UM —wmw I 'IW\n28. Dress of plain mauve silk.\n29. Dress of mauve silk, trimmed with blond.\n30. Dress of foulard.\n31. Dress of flowered silk poplin.\n32. Silk dress of white Moire antique,\nbrocaded in flowers.\n33. Dress of pink gros de Naples silk.\n34. Dress of flower-brocaded silk.\n35. Dress of black striped satin.\n36. Robe de chambre of embroidered\nChina silk.\n37. Dress of black silk cloth, trimmed\nwith velvet.\n38. Dress of black silk, trimmed with jet.\n39. Five under-dresses of silk.\n40. Dress en piece, of silk poplin.\n41. Dress of plain black velvet.\n42. Dress of garnet velvet, trimmed with\nblack lace.\n43. Dress of blue velvet trimmed with\nblack lace.\n44. Dress of white embroidered muslin.\n45. Dress and pardessus for the same, of\nmuslin.\n46. Dress of violet silk with broad bands\nof velvet.\n47. Robe de chambre of printed crepe de\nChine.\n48. Robe de chambre of white quilted\ntaffetas.\n49. Complete Toilette, comprising: cor-\nsage, skirt, mantle and sleeves of silk, velvet\nand plush.\n50. Dress of black silk cloth.\n51. Blue dress of silk.\n52. Three white dresses of silk.\n(These last four dresses have been\nworn in Adrienne Lecouvreur).\n53. Two complete toilettes in plain white\nmuslin and India muslin.\n(These two toilettes have been worn\nin Mademoiselle de Belle-Isle).\n54. Hood of satin and velvet.\n55. Three corsages of black velvet.\n56. Cloak of black silk cloth.\n57. Silk cloak trimmed with black lace.\n58. Cloak of rich velvet, trimmed with\njet and guipure.\n59. Muff of sable ; velvet cloak trimmed\nwith sable.\n60. Black lace umbrella with coral handle.\n61. Algerian burnous.\n62. Indian cachemire scarf embroidered\nin gold. , .\n63. Long Indian cachemire shawl, white\nground. . . , ~ j\n64. Cerise crepe de Chme, embroidered.\n65. Oriental scarves.\n66. Egyptian and Chinese costumes.\n67. Coiffures, (1\n68. Chaussures\n69. A hundred pairs of % oves.\n70. Lengths of various stuns.\nOGUIPU RESO\nmi IM7Hilium liiiiiiiigir I P—wUKIIm iißi.innnrn—^\n71. 1 metre 45 width 0,80, strip.\n72. 1— 45 » 0,80, Strip.\n73. 1 55 » 0,90, strip.\n74. | 60 » 0,80, devant d' au e\n75. 2 20 » 0,63, strip.\n76. 1 80 » 0,45, strip.\n77. 2 85 » 0,50, crowns and fleurs\nde lis.\n78. 2 —-15 » 0,53, landscape.\n79. 4 42 » 0,35. strip.\n80. 4 50 » 0,35, strip.\n81. 1 50 » 0,85, cover for pillow.\n82. 3 25 » 0,36, strip.\n83. 2 —BO » 0,35, strip.\n84. 3 25 » 0,50, strip.\n85. 1 40 » 1.10, over-spread for\neiderdown.\n86. Fifteen pieces of guipure and embroide-\nries for arms of armchairs, coverlets, etc.\n87. Two strips, for front of dress, of 1\nmetre 10 each.\n88. bas de robe in embroidery, 2 metres 45,\nwidth 0,35.\n89. 1 metre 60 width 0,45, pelerine (tip-\npet).\n90. 3 » 0,65, scarf.\nWHITE LACES.\n91. 1 metre 55 width 0,07, Malines in two\nlengths.\n92. 2 25 » 0,04, Valenciennes.\n93. 1 30 » 0,06 ' Valenciennes.\n94. 1 40 » 0,05, Alengon, strip.\n95. 1 85 » 0,10, Alengon, lappets.\n96. 3 75 » 0,10, Alengon, two pie-\nces.\n\n(1) (ie, hats and head-gear of all kinds).\n(2) (i. e., shoes, boots, slippers)."}, {"page_pdf": 15, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 2790, "texte": "97. 5 metres 80 width 0,10, Alengon, three\npieces.\n98. Collar of Alen-\n?on.\n99. 5 20 » 0,68, fichu trimmed with\nAlengon de\nelles.\n100. 1 84 » 0,09, application, two lap-\npets.\n101. 1 metre 10 application de Bruxelles coif-\nfure.\n102. 3 metre 85 width 0,20 application de\nBruxelles flounce.\n103. 3 - 82 » 0,20, idem flounce.\n104. 3 95 » 0,20, idem flounce.\n105. Casaque, application de Bruxelles.\n106. 2 metres 70 width 0,70, applic. de Brux-\nscarf.\n107. 1 —<■ 20 » 0,10, point de Brux-\nelles, two lap-\npets.\n108. Sleeves in application d'Angleterre.\n109. 1 metre 20 width 0,07, application d'An-\ngleterre.\n110. 1 10 » 0,07, idem.\n111.1 50 » 0,07, idem.\n112.1 30 idem berthe.\n113. 2 - » idem fichu.\n114.1 16 idem fichu.\n115. 7 40 » 0,40, idem two flounces.\n116. 1 20 » 0,57, idem veil.\n117.3 20 » 0,60, idem flounce.\n118. 4 80 » 0,60, idem flounce.\n119. Pointed shawl.\n120. 3 metres 15, width 0,06, point d'An-\ngleterre, strip.\no BLACK LACE O\n121. Two pairs of sleeves in black Chantil-\nly lace.\n122. Chantilly veil.\n123. Casaque of Chantilly.\n124. Chantilly scarf.\n125. Pointed shawl of Chantilly.\n126. Square shawl of Chantilly.\nSILVER - GILT LACE\n127. 1 metre 50 width 0,10, silver gilt lace.\n128. 1 80 » 0,11, idem.\n129. 1 1 idem lappet.\nL I N G E R I E\n130. A quantity of collars, sleeves, fichus,\npelerines, etc., the greater part trimmed\nwith Valenciennes and application de\nBruxelles and d'A ngleterrre.\nTABLE AND HOUSE LINEN.\nmnmmmtamammtmaaaasmmtmmt mi n INI i\n131. Damask table napkins for 18 and 20\ncouverts.\n132. Damask table cloths and napkins.\n133. Damask tea napkins.\n134. Batiste tea napkins.\n135. Napkins of striped linen.\n136. Napkins of English linen.\n137. Pantry linen.\n138. Aprons.\n139. Torchons (dish cloths and dusters).\n140. Linen sheets.\n141. Pillow cases, plain and embroidered.\n142. Casement and window curtains of em-\nbroidered muslin.\nSECOND SECTION.\no CHINA o\nwnmiiiiii—i'ill iwhim1 iin iiiiiiiiiiiagiwMiii ■>—hmi iiiii unywiw\n1. Square cup in Sevres porcelain, flowe-\nred, mounted in bronze\n2. Round cup, Sevres porcelain, pink\nground with birds, mounted in bronze rams'\nheads.\n3. Small vase of Sevres porcelain, with\nmedallions, mounted in bronze.\n4. Two small Sevres porcelain vases, birds\nand medallions.\n5. Oval tray with medallions.\n6. Cup and saucer.\n7. Round box of Saxe porcelain, with\nvery fine paintings.\n8. Bouquet of flowers (Saxe).\n9. Two little statuettes (Saxe). Love as\na cook, and its pendant.\n10. Two little statuettes (Saxe), the\nMusicians.\n11. Two statuettes (Saxe), the Grape-\ngatherers.\n12. Head of young girl (Saxe), Height\n23 c.\n\n(1) In addition to the numbering from I onwards of each section,\na progressive numbering from 1 to 952 of the whcle catalogue is\nadded in the original list. This has been omitted here as super-\nfluous. Ed."}, {"page_pdf": 16, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3335, "texte": "13. Group of three figures (Saxe).\nHeight 24 c.\n14. Group (Saxe), Satyrs and Bacchante.\nHeight 34 c.\n16. Dog of the West Indies.\n17. Group.\n18. Breakfast cup and saucer (with the\ncrowned Dauphin). (This cup was presented\nto and belonged to Mile. Clairon).\n19. Six porcelain coffee spoons.\n20. Six oriental coffee cups.\n21. Eighteen coffee cups.\n22. Milk jug.\n23. Twelve saucers with the cipher of\nking Louis-Philippe. (Sevres).\n24. Tea service in Saxe porcelain.\n25. Dinner service in English porcelain.\n26. Coffee service in Sevres porcelain,\nwith historical portraits of Albano, Giulio\nRomano, Annibale Carracci, Michael Angelo,\nRembrandt, Titian, Mazzuoli, Guido Reni,\nDomenico Zampieri, Agostino Carracci, Lu-\ndovico Carracci, Jacopo Robusti, Raphael,\nSalvator Rosa, Francesco Barbieri, Leonardo\nda Vinci.\n27. Dinner service in crystal ware.\n28. Bohemian glasses, engraved.\nOBJETS D'ART AND CURIOS, BRONZES AND\nO VARIOUS ARTICLES. O\n29. Set of Russian dice.\n30. Cover embroidered in pearls.\n31. Steel pen-holder.\n32. Lamp of lava, antique form.\n33. Statuette, Russian soldier.\n34. Paper-weight with fruits.\n35. Russian box, blue ground with pain-\ntings.\n36. Indian mirror with paintings.\n37. Oval box with medallions, porcelain.\n37. Statuette of rock crystal, on a silver-\ngilt pedestal, set with turquoises.\n39. Bronze statuette on a pedestal of\npietra dura.\n40. Bohemian glass with armorial bear-\nings.\n41. Sand-glass for desk in silvered and\ngilded copper.\n42. Antique fan, sylvan scene.\n43. Fan, antique mount.\n44. Fan set with gems.\n45. Portrait of Mile. Clairon, plaster.\n46. Le dessus and le dessous. plaster.\n47. Two intaglios.\n48. Two malachite candlesticks.\n49. Malachite seal supported by a Rus-\nsian porter in silver.\n50. Malachite seal mounted in gold.\n51. Malachite paper-weight; the reaping-\nwoman.\n52. Malachite paper-weight, ornamented\nwith engraved silver-gilt.\n53. Paper-knife of malachite and silver-\ngilt.\n54. Pen of malachite, gold and silver-gilt.\n55. Pencil-holder of malachite, gold-\nmounted.\n56. Malachite coffer.\n57. Very beautiful coffer in malachite\nand gilded bronze. (Presented by Her Majesty\nthe Empress of Russia, Saint-Petersberg,\n1854).\n58. Necessaire for perfumes, mother of\npearl with medallions, decorated with gold.\n59. Ornaments for console ; three pieces\nin enamelled silver and lapis lazuli.\n60. Silver medallion with figures in relief,\nenclosed in a velvet casket with monogram.\n61. Silver seal; the Postillion.\n62. Medicine chest in silver-gilt, with\nthirteen bottles.\n63. Silver ingot.\n64. Chaplet in cornelian and silver-gilt\n65. Two pedestals in silver-gilt, set with,\nturquoises and cornelians.\n66. Silver cup.\n67. Perfume-burner in silver filagree.,\n68. Basket in silver filagree, with fruit in\nmedallions on porcelain.\n69. Perfume-burner in silver-gilt and\nenamel.\n70. Paper cutter; handle decorated with\ngold, blade silver-gilt.\n71. Russian paper knife; the Carpenter;\nsilver-gilt.\n72. Silver seal; the Bird's nest.\n73. Silver seal; Gros-Rene and Mariette\nfrom the Depit amoureux.\n74. Two Russian paintings, Christ and\nthe Virgin; frames of silver-gilt; casket.\n75. Two portraits, Corneille and Racine,\nremarkable miniatures by Petitot; porcelain\nframes.\n76. Backgammon set in Chinese lacquer.\n77. Two semainiers O of Chinese lacquer.\n\n(1) Letter-rack, or tablet for weekly notes."}, {"page_pdf": 17, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 3819, "texte": "78. Paper basket, in box form, of Chi-\nnese lacquer.\n79. Three frames with engravings, cartes\nde visite, (l) drawings and autographs.\n80. Crystal cabaret.\n81. Mantel-shelf ornaments, three pieces,\nin Japanese porcelain.\n82. Decoration for foyer in gilded-bronze.\n83. Hearth decoration : for foyer, Eagles,\nlarge size.\n84. Decoration for foyer in gilded bronze.\nLes Amours.\n85. Two porcelain vases, blue lustre,\nadorned in gilded-bronze.\n86. Two vases of Tournai porcelain, with\npaintings on the frieze representing the fetes\nof Pan and Pomona.\n.87. Oriental sabre, with richly ornamented\nsilver scabbard.\n88. Wild boar : bronze by Fratin.\n89. Two comets (2) of porcelain, blue\nlustre, with lights of gilded bronze.\n90. Large lustre in gilded bronze.\n91. Fittings for lamps and candles.\n92. Crystal lustre.\n93. Venetian looking-glass with copper\nornaments.\n94. English paper-case.\n95. Inlaid Pap er-case.\n96. Luxor, water colour by CrapeleL\n(View of the ruins occupied by Mile. Rachel\nduring her travels in Egypt).\n97. Three boxes of Chinese lacquer.\n98. Two casement curtains of Chinese\nsilk, antique.\n99-102. Four Etruscan vases.\n103. The Christ, fine marble attributed\nto Canova.\n104. Two scent bottles, engraved and\ngilded silver; Cupids supporting a crown\nwith monogram in brilliants on blue enamel.\n105. Watch in copper, oval, of 1571,\nwith engraved portraits and designs. (This\nvery curious watch belonged to the Empress\nElizabeth of Russia).\n106. English Necessaire de coy age (dres-\nsing case), fitted in Silver-gilt and ivory.\n(This necessaire was on view at the Universal\nExhibition of 1855).\n107. Gold necessaire de voyage in its\nivory casket.\n108. Russian cup, engraved and gilded\nsilver; on the lid saint Michael vanquishes\na dragon. Moscow, 1864, with inscription.\n109. Russian cup in engraved and gilded\nsilver ; on the lid a child tramples on some\ngrapes ; women and children support the cup.\nMoscow, 1854, with inscription.\n110. Cup of engraved silver, enriched\nwith rubies, emeralds and turquoises. On\nthe lid, Apollo, seated and holding a lyre, is\nsurrounded by the nine Muses, in medallions.\nThe vase is ornamented with portraits in\nalto-rilievo ef Benvenuto Cellini, Bernard\nPalissy, Michael Angela, Maso Finiguerra,\nLorenzo Ghiberti, Albert Durer, and allegories\nrepresenting justice, Music, Geography, Geo-\nmetry, History and Theology.\nOn the foot are four little detached figures,\nDrawing, Architecture, Painting and Sculpture.\nThis cup is as remarkable for its compo-\nsition as for the purity and finish of the work.\n111. Inkstand in carved wood, surmounted\nby the bust of Moliere.\n112. Two porphery vases, mounted in\ngilded bronze, on pedestals.\n113. Table cover of blue Indian cache-\nmire, embroidered in gold, with guipure\ntrimming.\n114. Skin of African lion.\n.1 15... White bear skin.\n11-6. Porcelain toilet set.\n1 ill. Rich toilet articles in Chinese enamel.\n1 18.. Abissinian mandoline.\n119. Guitar. (This guitar, which has\nbecome historic, is that on which the little\nL'lisa Felix accompanied herself, when she\nhad not yet become the great Mile. Rachel).\nTHIRD SECTION.\no CELLAR. (1) O\nM YGM ■MWIWIIIII ■■ I ■ IMIIIMI MIL NIIHIWI—~WN— NI'FIIIIBNA mmi NIIH UIMTNIWIMIND mini MIRI^IN'FT^RAYRNFC\nBORDEAUX WINES. 224 bottles\nBeaumont; 113 bottles Lascombe :45 bottles\nSaint-Estephe, Lafont-Rochet: 261 bottles\nDesmirail-Margaux: 78 bottles Corce-Con-\ntenac : 141 bottles Pichon-Longuevil e vieux:\n90 bottles Lur-Saluces : 7 bottles Haut-Brion:\n51 bottles Chateau-Laffitte : 25 bottles Ffaut-\nSauterne\nVARIOUS VINTAGES. 49 bottles\nPomard tres-vieux. 192 bottles C6te-du-\n\nThis may have meant either visiting cards or the cfd \" cartie\nde Visite '' sized photographs\n\\£.) rrobably some kind of branched candlestick..\n(1) Numbered in column from 1-21, but grouped here so as to\n3gave space, E-d."}, {"page_pdf": 18, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 213, "texte": "Rhone : 5 bottles Vin de Moselle : 20 bottles\nMalaga : 1 1 bottles Pbrt: 5 bottles Madeira :\n13 bottles Madeira : 32 bottles Xeres : 9\nbottles various fine wines.\nLIQUE U R9 bottles cognac : 3 1/2\nbottles old rum."}, {"page_pdf": 18, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.18", "debut_caractere": 3131, "fin_caractere_exclue": 3142, "texte": "\"\"\" -» - >»"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c017", "article_bluemountain": "bmtnaau_1929-04_01#c017", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "54", "page_fin": "55", "image_debut": 18, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.13", "titre_corps": "THEATRE JEWELS AND COSTUMES", "titre_sommaire": "THEATRE JEWELS AND COSTUMES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.18", "debut_caractere": 215, "fin_caractere_exclue": 3129, "texte": "THEATRE JEWELS\nAND COSTUMES\nO J E W E L S (2) o\n|«»I i'i ■mm n - - ■T-imTiirirwrrxmrmMMiiiir mm , t,, M,lla .nf-rriirn ~--T. .|T|[rrm| rM\n1. Pearls of different sizes.\n2. Necklace, imitation malachite.\n3. Girdle.\n4. Pearl decoration for a dress,\n5. Jet girdle {Angelo).\n6. Four fancy bracelets, strass.\n7. Two ear-rings.\n8. Aigrette.\n9. Brooch of strass and; imitation emeralds.\n10. Aigrette, fuchsias in strass.\n11. Strass riviere, ve#y large stones.\n12. Two rivieres of strass, stones off me-\ndium size.\n13. strass riviere in two rows.\n14. Two stjass aigrettes.\n15. Five, strass brooches.\n16. Two large hanging ear-nWs, strass,\nancient setting.\n17; Bouquet of five points, strass.\n• . .ass brooch, large and medium\nstones, with a strass bracelet, with three rows\not pearls.\non' oTaS,S J°']C P2®6* 1;-Tge stone.\n9 1 IleC Ce» tWO IOWS,\nl. f earl necklace with. five rows and\npenaants.\n22. Girdle and two bracelets with pen-\ndants, with imitation emew.fd cabochons, two\nepaulettes.\n?a' t\"W° ear~™§s» a large brooch,\nj '. . epaulettes., two bracelets, a\nress decoration in pearls and imitation\nturquoises.\n11 V> ear-rings and bracelets with\nblack pearls.\n26, Ferronniere, *3) two }l;gK combg in co_\nloured stone, brooch of strass and imitation\nemeralds.\n27. Necklace and clasp, pearls and co-\nloured stones.\n28. Seven plaques, cameos on shells.\n29. Two pearl bracelets, and barrettes of\nthree strass gems.\n30. Pearl neck-piece.\n31. Diadem formed of two earrings and\nthree brooches.\n32. Miroir de beaute.\n33. Headdress and its cap, necklace,\ncollar, and bracelet adorned with sequins.\n(Angelo, Ist and 3rd acts).\n34. Two shoulder pieces in strass, pearls\nand garnets. (Angelo).\n35. Mediaeval purse. (Angelo).\n36. Two brooches and head decoration.\n(Angelo).\n37. Rich poignand, sheath of garnet velvet.\n38. Strass crown. (Marie Stuart).\n39. Necklace, in pieces, and cross, gilded\ncopper with filagree. (Marie Stuart).\n40. Very rich girdle. (M arie Stuart).\n41. Chaplet, jet and ivory. (Marie\nStuart).\n42. Diadem. (D on Sanche d'Aragon).\n43. Two necklaces. (Don Sanche).\n44. Alms-purse in cloth-of-gold and co-\nloured stones. (Don Sanche).\n45. Two bracelets with pearls and large\nrubies. (Moineaude L\n46. Two plaques and a large cordon of\nRussian order. (Czarine).\n47. Two girdles, one in pearls, the other\nin coloured stones. (Adrienne Lecouvreur).\n48. Poignard in strass and coloured\nstones. (Adrienne Lecouvreur).\n49. Strass bracelet. (Adrienne Lecouvreur).\n50. Diadem. (Tancrede).\n51. Six bracelets. (Virginia).\n52. Diadem, two bracelets, two necklaces,,\ntwo fillets. (Athalie).\n53. Diadem with pearls and five cameos:\non shell. (Phedre).\n54. Ear- rings, cameos on shell, and pearls.\n(Phedre).\n55. Diadem with nine cameos on shell..\n(Andrornaque) •\n56. Six bracelets in the form of serpents..\n57. Two flat bracelets. (Hoi ace).\n58. Two necklaces. (Mithridate).\n59. Diadem, four fillets, two bracelets.,\n(Mithridate)."}, {"page_pdf": 18, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.18", "debut_caractere": 3144, "fin_caractere_exclue": 3259, "texte": "no. i »'i: '\"7\nH3 An,, i * tei rumbers alone are given),\na .gold chain. W°'Q y wpmcn an*! fixed on the foreheatf &s"}, {"page_pdf": 19, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 205, "texte": "60. Large square brooch with star.\n61. Three chain ends.\n62. Diadem, four rich bracelets. (Cleo-\npatre).\n63. Diadem, (h redegonde).\n64. Two head-bands, two bracelets.\n(Cinna).\n65. Diadem, two plaq(Esther)."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c018", "article_bluemountain": "bmtnaau_1929-04_01#c018", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "56", "image_debut": 19, "image_fin": 20, "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=bmtnaau192904-01.2.14", "titre_corps": "COSTUMES", "titre_sommaire": "COSTUMES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.19", "debut_caractere": 207, "fin_caractere_exclue": 3192, "texte": "COSTUMES.\nO MITHRIDATE O\n(Role of Monime)\nWUffIMMWBfrW HI Willi H\n66. White tunic with corsage, cloak of\nblue merino, embroidered in gold.\no ATHALIE o\n■ i' in ■umiiUßM—iin«ml*nwiTWiiiTiiininrßir^i—wi—woihittiimii iwnnnwiwirami unwi miibiiiiiw i w imi mi iiniwiimnn m —n\n67. Skirt and corsage, of black merino,\nskirt of blue merino, gold and jewelled em-\nbroideries.\n■ iwiiiniiHummi miini'T—rn m i, ht-khi mm i h wixmii ttmii' ii fur n urn rn mwiiimi' immmniii'ii nn miwi\no C I N N A o\n(Role of Emile).\n68. Tunic and corsage of white merino with\nred wool embroideries, cloak of red merino.\nimmhubhh hi bi ■j.ni'.'it.jaum.mwMMwtgw iiwiii—i' iii in w iimmnin ■■urn wimi i n ii i\nO POLYEUCTE O\n(Role of Pauline).\n-. ~ M ■g-n-nTiummmi mmiuiiimn ' ■\n69. Semi-circular cloak, tunic and corsage\nof white merino, embroidered in wool, square\ncloak, tunic and corsage in rose-coloured me-\nrino, embroidered in white.\n\" i in irm-jn iiinwnim , mi\nOBRITANNI CUSO\n(Role of Agrippine).\n70. Square red cloak, embroidered in gold,\no CLEOPATRA O\n71. Corsage and skirt of yellow silk bro-\ncaded in gold and silver and embroidered in\ngold.\n72. Semi -circular cloak of red merino with\njewel-work and gold embroideries.\n°PHEDREo\n73. Semi-circular cloak, white merino, em-\nbroidered in gold, semi-circular veil, in gold-\nembroidered crepe lisse. peplum of white ba-\nrege embroidered in gold.\n74. Tunic of chamois merino, semi-circular\ncloak of white merino, peplum of white\nbarege, and veil embroidered in gold.\n75. Tunic of chamois merino, semi-circu-\nlar cloak of red merino, barege peplum, veil\nof crepe lisse, all embroidered in gold.\n76. Tunic of chamois merino, semi-cir-\ncular cloak of red merino embroidered in gold.\n77. Tunic and cloak of white merino,\nembroidered in silk and gold, veil and peplum.\nOANDROMAQUE O\n(Role of Hermione).\n78. Two white cloaks.\n79. Two blue tunics.\nONICO D E M E O\nWBBBWiimunmmma miiiwwtmmujiiimuai m ■—iw iiiuitmmuM.mm.i.mintn-jumj,uuiajaaugjk'\n80. Semi-cii cular white cloak, with gold\nembroideries.\nOTANC R E D EO\n(Role of A menaide).\nWHIIB 1 - UIHHHIW fW JW. J» I JLJUHIMUULU.I*! llirTlTrn I II rnTTnT illTf'iTl UTiTllllH II\" iIM IHBHI MM HI I lilll\" ll IWHHI j WHHP )■ Hj| >H\n81. Two corsages, a skirt of white merino.\nWHm i JRzmxmjMJSßLJue?. hi ■ liwii iii —ihbii ■ im„ immMmmmmmmmtammoßsmm\no BAJAZET O\n\"BWW—n»—naawpp—Mbmbwi WM—MOB—MM—M™— i i i«*TrnrtniirnmtiM«B»ow\n82. Turban, sash and trousers of oriental\nstuff, Turkish slippers.\n83. Skirt and corsage of cherry-coloured\nsilk with embroideries.\n84. Coi sage and under-robe of embroi-\ndered yellow satin.\n85. Cloak, vest and dolman of black vel-\nvet embroidered in gold.\nHORACE ET LYDIE\n86. Corsage and skirt, peplum of white\nmuslin embroidered in gold.\nOMOINEAU DE LESBIEo\n87. Tunic of rose-coloured merino, pep-\nlum and veil, embroidered in gold.\n88. Rose-coloured tunic and corsage, em-\nbroidered in gold.\n89. Corsage and tunic in striped rose-co-\nloured muslin, a white peplum, the whole em-\nbroidered in gold."}, {"page_pdf": 20, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 2528, "texte": "DEPIT AMOUREUX\n(Role of Marinette).\n90. Complete costume with two skirts.\nll—i IlllilHll Ij jf llW———w !■'*■ < 1\" 'MI 1\"WI\" Til\" ' »>■ ■ \"\"\" \" \" I|gir\nMALADE IMAGINAIRE\n(La Ceremonie).\n■ iailJJJlUUHiuJMJi,JiiJW'Uil^jjajKJmaiW,MWiM'Tirw)«**,i,i miihi n—ininwir ■ mini hi n i i i i ————■«——\n91. Cloak of red merino, trimmed with\nimitation ermine, and square cap.\no MISANTHROPE O\n(Roleof C\n92. Corsage and skirt of white moire,\nbrocaded in silk and gold.\nBOURGEOIS GENTILHOMME\n93. Vest of green velvet with embroide-\nries, calotte and two bands of silver-gilt\ngaloon.\nOANGELOO\n(Role of Tisbe).\nFirst Act.\n94. Corsage adorned with coloured jewel-\nied-work, skirt of white satin embroidered in\ngold, under-skirt of cloth-of-gold trimmed with\njewel-work.\nCorsage and skirt of white silk embroi-\ndered in gold, under-skirt in cloth of gold,\nscarf of pink crepe, dress-front of white satin\ntrimmed with jewel-work.\nSecond Act.\n96. Corsage and skirt of black velvet with\ngold galoon.\nO MARIE STUARTO\nMBBBBWWHBIBBWaMWHBWWKBHgMBfIBMBBWWWBMWBWBBBWBBMIWIB BMP Bill'lll I mXXGJtm ■ ■ PIIMHII—B— IWI WWIII 91 ■IttMMMMWWBWMMBIMWWBMi\nFirst Act.\n97. Corsage and skirt of silk damask bro-\ncaded in white, garnishings of pearls and\ngaloons.\n98. Coiffure, and cuffs (machettes).\nFifth Act.\n99. Corsage, black velvet skirt (with three\nrows of galoon, corsage and dresss front of\nblue silk).\no CZARINE o\n100. Imperial mantle in cloth of gold,\nwith the two-headed eagle, trimmed and lined\nwith fur.\n101. Skirt and corsage in cerise velvet\nwith about eight metres of fur and a garni-\nture de robe of imitation ermine.\n©ADRIENNE LOCOUVREUR O\nSecond Act.\n102. Sleeves and skirt of gold-embroi-\ndered muslin.\n103. Skirt of black silk damask, broca-\nded in gold, with gold embroideries.\n104. Turban, pardessus (over-robe) of white\nsilk, brocaded in gold.\nThird Act.\n105. Corsage and skirt of cloth of gold,\nembroidered in rose chenille.\n106. Corsage and skirt of rose silk, bro-\ncaded in silver.\n107. Corsage and skirt of chamois silk\npatterned with flowers.\n108. Corsage and skirt, rose taffetas, pat-\nterned with flowers.\n109. Corsage and skirt, moire silk bro-\ncaded in gold, with under skirt of white moire\nantique embroidered in gold.\nIU > I.——P«—l ■ H—\nJEANNE D'ARC\nFirst, Second and Third Acts.\n110. Two tunics, two corsages and two skirts\nof blue merino.\n111. Very fine armour richly damascened\nleg-pieces, close-fitting coat. (Juste aucorps).\n112. A quantity of various articles which\nhave served for the theatre.\nTo be concluded.\n(I) A head piece."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c020", "article_bluemountain": "bmtnaau_1929-04_01#c020", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "59", "image_debut": 21, "image_fin": 23, "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=bmtnaau192904-01.2.15", "titre_corps": "DESIGN IN THE THEATRE : WITH SOME NOTES ON THE NECESSITY OF PUTTING EVERY ONE IN HIS RIGHT PLACE", "titre_sommaire": "DESIGN IN THE THEATRE : WITH SOME NOTES ON THE NECESSITY OF PUTTING EVERY ONE IN HIS RIGHT PLACE", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 3636, "texte": "DESIGN IN THE\nTHEATRE\nWITH SOME NOTES ON THE\nNECESSITY OF PUTTING EVERY\nONE IN HIS RIGHT PLACE.\n\n(I)\nTHIS excellent contribution towards a New\nTheatre (a theatre already establishing\nitself firmly on the continent) should help\nto bring the day when it is established in\nEngland a good deal nearer.\nIt is almost as well stocked as the \" Robes\nof Thespis ,a book which for some un-\nknown reason was priced at £ 8.8.0 whereas\nthis Studio volume costs but 7/6.\nMr. Geoffrey Holme carries on the work\nof his father and develops it with any\namount of energy and discernment.\nI rather wish that the Editors had called\ninto their service a few of the men and\nwomen who could have written about Design\nin the Theatre as it has been practised cen-\ntury by century, as Mr. Shenngham points\nout, \" since 458 B.C. \".\nExcellent are the brief notes by Messrs\nCochran and Playfair. But it is for the two\ngood articles by George Sheringham and\nJames Laver that we have to buy this volume\nwith its 120 full page plates, many being in\ncolour. To have produced such a volume\nfor 7/6 is really an achievement.\nSo then, to Mr. Sheringham and Mr.\nLaver.\nThe first deals with the Britishers of\ntoday, the second with the Continentals of\ntoday. Mr. Sheringham limits himself to\nnine short pages, Mr. Laver is allowed\nthirteen. The men from 458 B. C. to\n1900 A. D. do not get proper attention.\nThis is the only fault I v/ould find in\nthis book.\nIt is rather a serious omission because\nwe ought to see some of the rubbish and\nsome of the fine things of yesterday in order\nto realise how good and how bad our modern\nwork is ... . and there is some very bad\nwork reproduced in this book. It will be\nseized on as representative and it will also\nbe derided, as is both fair and unfair. Unfair\nunless you show that in 1880, in 1850, in 1820\nand so back and back till we come to 458\nB. C., there has always been bad as well as\ngood work done in this branch of the Thea-\ntre as in every other branch.\nThe importance of a Historical survey is\nstill so obvious that 1 hope Studio may\nsome day see its way to issue a second vo-\nlume \" Designs in the Theatre good and\nbad since 458 B. C. \".\nIt's odd how, when it comes to displaying\nwhat was done in any age gone by, the good\nwork is always collected and shown and the\nbad work dropped .... or if shown its errors\nare not noted. So much is lost by this\navoidance of the question of what is good, ie\napt, and what is bad, ie inept.\nEven in the fine volume on the stage\n_ D\nwork of Inigo Jones we get nothing\ncritical from our stage point of view.\nWhen the Telbins and the others of 1850-80\nare damned we get no word to tell us how\nremarkable were their victories for they,\nlike all of the better men before or since,\npreserved not merely the weaknesses of a\ntradition, but saved certain commonsense\nvalues which are still of immense worth and\nalways will be.\nThe Russians are trying to break these\nup and 1 think we have to preserve them.\nAway with all the rubbish, but for the\nsake of the world treasure every appropriate\ndevice lest, when to-morrow comes and we\nsearch for something and discover it after\ntwenty-five years' labour, we become aware\nthat we really need never have lost it for\nit will be the same old device.\n1 talk of devices, not principles .... I\nwould even use the word tricks since\n\n(1) De sign in the Theatre. Edited by Geoffrey Holme. The\nStudio Ltd. Price 716. A brief review of this already appeared in\nThe Mask but our readers will appreciate this fuller notice by Mr.\nGordon Craig.\n(2) Published in 1924, and referred to in 4# The Mask\" vo-\nlume XIV pag. 1 1.\n(I) Walpole Society; London. 211- net."}, {"page_pdf": 22, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4463, "texte": "Titian himself or Shakespeare employed tricks\nand it is the trick which does the trick.\nIf I knew ail the tricks of writing I could\nget what is in my head out of it on to this\npage ; not knowing the tricks I cannot. The\nfirst-class journalistic touch is what I lack\nwhat cannot an experienced sleight-of-hand\njournalist do ? Can he not seem to make\nhalf -crowns vanish and appear again appa-\nrently out of the air ? And it is to preserve\nall these tricks which experience has wrung\nout of years of necessity that we need our\ntheatres today.\nLet us adventure forwards by all means,\nbut also let us preserve what has been\nadventurously discovered in the past.\nWhen in the course of his excellent article\non the Continentals of today Mr. Laver\nrefers to the famous and immensely able\nKeinhardt he names a few of his assistants,\nRoller, Stern, Orlik, etc. ; but he omits\nto say a word of the men who counted for\nReinhardt more than all these his stage-\nmanagers, his regisseurs. So the name Va-\nlentin is absent, and two or three other\nnames of regisseurs that should never have\nbeen lost to us. I select Valentin because he\nwas so German, so good in his good old\nGerman way. He died at an early age in 1908.\nDesigners are valuable assets, but without\nthe regisseur they are all at sea, and it is\nonly when the designer understands the\nworkings of the regisseur's mind that the\nfull force of his designs becomes available.\nIt is for this reason that I have always\nheld and still hold that it is the regisseur, ie\nstage-manager or producer, that is the man\nwho, if honoured and allowed his legitimate\nplace as master of the stage, can and will\nsave the situation of all the theatres in\nEurope and America. If denied his place\nthe theatre must go on crumbling.\nThis regisseur is unprejudiced : he is not\nfor star actors alone, not for sceneries alone,\nnot for lighting alone ; not for literature, not\nfor opera versus play, not for any one or any\ntwo or three things detached from the others:\nhe is for all.\nFie is for the Art oi the Theatre if there\nbe such an art; he is for the theatre people,\nthe workers from Shakespeare down to Bakst,\nand he is for the lot of them, keeping each\nin his place: he is there to see that each\none is not out of place.\nThis is why Sir Nigil Playfair (who, hy\nthe bye, amusingly if somewhat heroically,\nrefuses to allow that I am a stage manager)\ngot such an excellent result up at Hammer-\nsmith. He kept Gay, Shakespeare, Fraser,\nHembrow, Ranelow, Sayler and the musicians\nand the dancers each in his place, and\neveryone I think was happy and it was alia\ngreat success.\nFor Sir Nigil Playfair is one of our\ndozen ablest English regisseurs. There are\nperhaps five more being used, two of whom\nmay be wandering in the provinces, while three\nare carefully suppressed in London : but\ntheir work is seen, and it never fails to do\nour stage all the good in the world.\nI want the full number of twelve and\nunsuppressed. I want each to be given full\ncontrol over a representative English Theatre:\nI want to see these twelve united in a single\npurpose, to recover all the lost ground of the\nlast twenty years, and although each goes\nalong his own path 1 want to see them keep-\ning really in touch with one another.\nUnder these twelve I want to see the\ntwelve best business managers and the three\nhundred best actors and actresses and the\nhundred best designers.\nMr. Cochran is one of the twelve business\nmen or impresarios who could stand with one\nof the twelve regisseurs ; and we have\nother impresarios. There is Mr. Kae and\nthere is Sir Barry Jackson. There are at\nleast twelve first class men of this kind for\nwhat we call the front of the house.\nThere is, by the bye, a danger which the\ncritic can help us all to avoid if he will : and\nit is this. When our impresario - a really\ngood man of business, ie the showman gets\nit into his head that he is important to the\nstage and comes on the stage and talks, let\nthe critic at least cough.\nMr. Bram Stoker was Irving's showman,\nand Mr. Bram Stoker never came on to the\nstage and talked for the simple reason that he\nwould not have dared to. He knew a lot\nabout stages, even as the director of the\nNational Gallery knows a deuced lot about\npaintings, painters and studios, but this gives\nr O\nno one a free pass to open his mouth on the\nsubject of how paintings in 1928 should be\nbegun, developed and finished.\nThis one danger to the Theatre carefully\navoided, all else should be clear sailing."}, {"page_pdf": 23, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 3257, "texte": "But you must first find your twelve\nregisseurs and bring the twelve business\nassistants to them in the shape of these twelve\nimpresarios; get it clear to the latter that he\nis there to run the front of the house and to\nplay that wonderful second fiddle part without\nwhich the first fiddler never could extract\nquite so rich a sound as he does when\naided by that true friend of his, the second\nfiddler.\nGet this clear and let the work be\ndivided, and a step will have been taken in\nthe right direction.\nMr. Cochran for example would, I am\nsure, give a lead. He would set the exam-\nple of attending to his business, never con-\ncerning himself with the performers or artists\nbut preserving that first-class tradition of the\nshoemaker of sticking to his last.\nThe regisseur would never interfere with\nthe front of the house arrangements except\nthrough the instrumentality of his able assistant\nMr. Cochran.\nThe best of the old methods would\nreturn again, that cooperation between\nartist and business man. Every day these\ntwo would meet and speak of their plans\nand of how to realize them by assisting each\nother, and thus every day progress would be\nmade and made without argument, while all\nfriction would be eliminated since all respon-\nsability would rest with these tv/o whose\nsense of duty, let alone friendship, would\naim to remove ail difficulties from each other's\npath.\nThis rule of two artist as leader and\nbusiness man as faithful assistant is the\nReinhardt secret and the Stanislawsky secret.\nWith Reinhardt js Edmund Reinhardt\n■and an able staff. With Stanislawsky is\nDantchenko and an able staff.\nBut would Mr. Cochran be ready to\nrelinquish his many activities and devote his\nentire time and abilities to one thing ? ... to\none Theatre at first and after that to one\ngroup of Theatres ?\nI cannot tell. At present we see him\nas far and away the most brilliant impresario\nof Great Britain. He manages theatres,\nmusic-halls, supper rooms, boxing contests,\nactors, singers, dancers, pugilists, and did go\nin for horses.\nHe has proved that he has the genius to\nmanage anything. His reputation is world-\nwide : and it is not once but often I have\nheard it said that he is really the greatest,\nmost imaginative, impresario living. This is\nsomeone Great Britain needs as second fiddle\nat its foremost theatre.\nIt needs no one less able, that is quite\ncertain.\nBut we do not want two Cochrans (even\nif two existed) in the same theatre just as\nwe should not require two creative artists to\ntake control of the same theatre.\nThere must be only one artist and one\nbusiness man.\nSir Barry Jackson as business manager\nsupporting John Drinkwater seems to me an\nideal arrangement. These two could achieve\nwonders together.\nMr. Rea supporting Mr. Dean seemed\nalways to me to be just the thing. And 1\nlook upon Mr. Dean and Mr. Drinkwater as\ntwo of our artists and Mr. Rea and Sir\nBarry as two of our impresarios or business\nmanagers.\nIf I had space here I should like to\ndraw out a table showing which artists I\nwould select as the first twelve, which busi-\nness managers to assist them, and which\ntheatres they could control.\nBut before doing this I for one would\nfeel safer if about such a matter I first con-\nsulted with my friend C. B. Cochran.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c023", "article_bluemountain": "bmtnaau_1929-04_01#c023", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "60", "page_fin": "60", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.16", "titre_corps": "MARIONNETTES AND THE ENGLISH PRESS", "titre_sommaire": "MARIONNETTES AND THE ENGLISH PRESS", "signature_source": "C. G. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3673, "texte": "MARIONNETTES\nAND THE ENGLISH PRESS.\nC. G. E.\nIN January and in Paris the Marionnettes of\nDr. Podrecca, which had appeared in\nLondon and are called the \" Piccoli \", had\nby January 30th given fifty performances.\nWhether they gave only fifty I have not been\nable to ascertain, but it seems astounding that\nthey should be able to give so many as even\nfifty in the city where the Signoret and Se-\nraphin theatres flourished, and where the\nordinary everyday marionnettes in the Champs-\nElysees are so delightful.\nThe Continental \" Daily Mail \", a most\nexcellent publication which I miss whenever\nI come to England, speaking of this troupe's\nperformance, said : - dexterity of the\nmanipulators, combined with the talent of the\nhidden artistes who speak, and sing for the\npuppets, conveys an extraordinary illusion\nof reality \" : this being precisely the thing\nthat no good marionnettes ever do ; from this\nyou get a fair idea of the third-class thing\nthe whole show is. (Papers, please copy\nand tell the world, and don't tell them a thing\nis first-class which is not so).\nOnce upon a time \" The Mask \" took\nan infinite amount of trouble to explain what\npuppets were, why they are so lovely\npretty good in fact - and one had hoped that\nthose who read the \" Mask \" and then wrote\ntheir views in the \" Sunday Times \", in the\n\" Telegraph \" and in the \" Observer \" would\nhave seen that the trouble taken over this\nlittle but important branch of art had been\nshouldered especially for them, and that it\nwas not needed for them to more than follow\nour argument, which was a logical one, for\nthen a nice conclusion could have been arri-\nved at by all, and we should have seen the\nresult of their thoughts and feelings through\nthe \" Sunday Times \", the \" Observer \", the\n\" Morning Post the \" Telegraph \" and so\nforth.\nIf some day we of \" The Mask \" come\nto write rather differently, come to take less,\nand again still later far less trouble, and\nfinally no trouble at all, it will be your\nfaults, dear friends. you writers in the\n\" Sunday Times \", the \" Observer \", the\n\" Telegraph \", the \" Morning Post \" and so>\nforth; because we knew you had so little\ntime to give to these matters; you had to be\nalways addressing the public; and we realised\nthis : and realised too that we had so much\ntime that we went very carefully into the\nwhole matter, and we did not speak until we\nhad carefully considered and reconsidered the\nwhole subject . . . which reminds us of what\nthe \" Review of Reviews\" said about us.\nIt said \" ' The Mask ' thinks what it says\nand thinks a long time before saying it\".\nWell you don't mind us trying to be\nof some service to you, you hard-working\nmen of the daily press of London, for what\nknowledge can you have of such bothersome\nsubjects marionnettes, for example unless\nwe help you to it ?\nWhy do you go down unarmed to the\nfray, sit watching these mysteries and allow\nthem utterly to thwart you ? (I forget, but\nwhat was the story of the man who peeped;\ninto the mysteries unarmed .... torn limb\nfrom limb, 1 think, wasn't it ?)\nAnd when you write of these subtle\ntheatre things you all lie scattered down the\ncolumns of the \" Sunday Times \", \" The\nObserver \", the \" Telegraph \", the \" Morn-\ning Post \" and so on a gory rivulet of\nreal nonsense trickles from you.\nGo and read them again, those paragraphs\nin \" The Mask \", written chiefly for you, as\nto what Marionnettes are and are not; what\nacting is and what Play-writing may be,\nand you will notice that you have said the\nwrong thing over and over again.\nSo do make a bit of use of \" The Mask \"\nwhen next you go to see something worth\nwhile in a theatre and would say about it\nthe true and worth-while thing."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c026", "article_bluemountain": "bmtnaau_1929-04_01#c026", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "73", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.17", "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": 25, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2701, "texte": "journals (I m not of course speaking of those\nwho subscribe for it but of those who really\nread it) :. . and we are only talking to you\nafter all, nest-ce pas; and how can that do\nany harm ?\nHere and now we are but talking to\nMr. Brown and the other few friends ; cer-\ntainly not to Mr. Brown's wide public.\nSo, you see, we could do Mr. Brown no\nharm at all.\nBut Mr. Brown has rashly and unkindly\nwritten down a piece like \" The Circle of\nChalk \" when he might have written it up.\nHe has done this before thirty thousand\npeople or more.\nHe says that \" The effect achieved by\nMr. Basil Dean is one of decoration by\nselection \", that his work is \" a highly co-\nloured confection with song, dance, proces-\nsional rites, revolving scenery, property men\ndoing their simple business \", etc.\nAs he sits and watches he \" finds his\nappetite failing so he says, and towards\nthe end of his lively damnation of \" The\nChalk Circle \" he refers to the grouping as\n\" human sculpture at its best \".\nThis turns this Dean thing into something\nvery cheap. What is \" human sculpture \"?\nI have never heard of it before. I have\nheard of human bodies and human beings,\nbut sculpture cannot be human. Since there\nis no such thing as \" human sculpture \" how\non earth does Mr. Brown refer to it ? This\nsingle line shows me that he is searching\ntowards safe but unkind mis-statement and I\ndon't think I very much like that, because\nit's not said to a small private group ; it's a\nstatement before a vast public.\nMiss Anna May Wong has, it appears,\na voice less lovely than her face; but to\ndamn Miss Wong, her voice, Mr. Dean and\nhis show seems rather a pity, since surely\nthere cannot be very many better producers\nthan Mr. Dean, prettier ladies than Miss\nWong, nor better shows than Mr. Hammond's,\nat any rate in London.\nBut, as I said, 1 have been spending three\ntravelling through these three lands,\n-v, France, and England and I think\ni asked L nathise with Mr. Ivor Brown as\nHe Vj Miss Wong and Mr. Dean.\nAlsatians di otiCed some thousands of people\nalone he d dc jn streets of London at any\nwith Macbeth.seem to be in a bit of\nI wish I couia\n-»\nan unnecessary hurry, talking unnecessary\nphrases \" ...the old ones with new buckles...\nand they are saying these without any thought\nwhatever, any feeling whatever, no motive to\nthe parrot patter.\nThey talk on apparently conscious that\nthey are uttering sounds but no more.\nWhile this poor sort of public exists\nMr. Ivor Brown is the very man for the\njob.\nMy only defence for Mr. Ivor Brown is\nthat the Public is so inane he does right to\nplay down to it, to be inane too.\nBut Ivor Brown at his best is a first-class\ndramatic critic : fortunately he never gives\nthem his best."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c028", "article_bluemountain": "bmtnaau_1929-04_01#c028", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "74", "image_debut": 25, "image_fin": 26, "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=bmtnaau192904-01.2.18", "titre_corps": "BRINGING THE SO-CALLED STAGE : TO ITS SENSES A LETTER TO THE EDITOR OF “THE MASK”", "titre_sommaire": "BRINGING THE SO-CALLED STAGE : TO ITS SENSES A LETTER TO THE EDITOR OF “THE MASK”", "signature_source": "JOHN FURSE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.25", "debut_caractere": 2703, "fin_caractere_exclue": 3729, "texte": "BRINGING THE SO-CALLED\nSTAGE TO ITS SENSES\nA LETTER TO THE EDITOR\nOF “THE MASK”\nFROM JOHN FURSE.\nThe name John Furse is the pseudonym\nwhich covers the well-known Literary Editor\nof a British daily paper.\nWe believe that \" The Mask \" Was the\nfirst to call attention to some of the points\nthat Mr. Furse makes in his Letter. Or was\nit Mr. Gordon Craig in the English Review\nas long ago as February 1922 ? Editor.\nSIR\nOf course we are all agreed that the\ncinema can do the drama no harm. The\ncritics have summed up the position by poin-\nting out that the financial competition of the\ncinema can only drive dramatists, actors and\nproducers all stage-workers, in fact back\nto the first principles of their art, and then\nall will be well. It is about the \" first prin-\nciples \" that differences of opinion arise.\nFor Mr. Ivor Brown, for instance, by far\nthe chiefest principle concerns the importance\nof the spoken word. See that the words to\nbe spoken and the manner of speaking them\nare nothing short of first-rate and all will be"}, {"page_pdf": 26, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3396, "texte": "well with the drama, he suggests (when: cri-\nticising the old Chinese play, \" The Circle\nof Chalk \"). But Mr. Brown really knows\nas well as anyone that what is seen in the*\ntheatre has always been important. And to-\nday the public realises this more than ever,\nthough in nine out of ten London theatres\nthat is a generous reckoning if is quite im-\npossible for one's eyes to rest with pleasure\non the stage, so hideous is the production.\nSomerset Maugham's \" The Sacred f lame \"\nis a good if not a great play, so much a young-\ntheatre-goer allowed to me the other day.\n\" But, oh, the production ! \" he said. \" Really,\nI can't pretend to get from such a show half\nthe pleasure that a Pabst film gives me \". That\nwas no criticism of the stage as a medium,\nfor Pabst, after all, has been called the Gordon\nCraig of the cinema, and Gordon Craig pro-\nductions, alas, are not to be seen in the West\nEnd of London ; but it was a pointed enough\ncomment on British producers. It is not enough\nto look after the words ; they alone will not\nkeep the Jews of Shaftesbury Avenue out of\nCarey Street; the cinema has trained erstwhile\nlackadaisical theatre-goers to use their eyes in\na certain way, and after seeing Pabst's lovely\nwork on the screen they are not to be fobbed\noff with any old jumble on the stage.\nThe German and Russian cinema has gi-\nven us many lovely things. The grouping\nand lighting of such rare films as \" Faust\nand \" Waxworks \" are a delight to all but\na small fraction of intelligent cinema-goers.\nThe people who have grasped the beau-\nties of such works from their halfcrown seats\nin the cinema are ready for a Gordon Craig\nwhen they go to the guinea stalls of a theatre.\nThey ask for bread and the theatrical hacks\nof London give them stones. Certain of Ba-\nlieff's pieces and certain of Diaghilev's ballets\nare almost the only beautiful things the London\ntheatregoer sees in the year.\nBy all means workers in the theatre must\nget back to first principles. But don't let\nthem minimise the appeal of the stage to the\neye. Just because the stage producer has to\novercome certain scenic difficulties that do not\nexist for the film producer he must not for a\nmoment dream of foregoing one of his stron-\ngest cards he must not commit suicide,\nwhich is what he'd do if he listens to the\n\" literary \" people in the theatre who are\ntaking advantage of the cinema vogue to scare\nproducers into adopting their pet theories of\nthe drama. If they follow Mr Brown's hasty\nadvice they'll end not in a renascent theatre\nhut in one of those studios from which they\nbroadcast the dry bones of drama.\nA few years ago London producers blithe-\nly ignored \"\" On the Art of the Theatre\n\" Towards a New Theatre \" The Theatre\nAdvancing '* and those other epoch-marking\nworks, and were incalculably poorer artists\nfor doing so. The time is coming, some say,\nwhen they must try in their humble way to\nfollow in the footsteps of the master of the\nmodern theatre or be financially the poorer.\nWhen the purses become lighter the brains\nmay become active, and perhaps to stop the\nrot Craig himself will be brought on the\nscene. If we could be very hopeful of that\nwe'd all pray every night from now on for\nstill more theatre-goers and there are a lot\nof them - who prefer Pabst to his London\nstage competitors. For my part, I firmly be-\nlieve that \" The Theatre Advancing \" has\nan ally in cinema studios of Europe."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c030", "article_bluemountain": "bmtnaau_1929-04_01#c030", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "74", "page_fin": "75", "image_debut": 26, "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=bmtnaau192904-01.2.19", "titre_corps": "THE CAMBRIDGE SHAKESPEARE : FOREIGN LANDS AND THE RIGHT THING TO DO", "titre_sommaire": "THE CAMBRIDGE SHAKESPEARE : FOREIGN LANDS AND THE RIGHT THING TO DO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.26", "debut_caractere": 3398, "fin_caractere_exclue": 4143, "texte": "THE CAMBRIDGE\nSHAKESPEARE\nFOREIGN LANDS AND\nTHE RIGHT THING TO DO.\nI have been travelling around Europe lately\nand have often needed a copy of a Shake-\nspeare play; not all of them one only;\nand have never been able to find copies.\nEven in Paris in a firstclass Bookshop I\ncould find nothing I could buy for one\ncan t buy the usual Shakespeare which even\nthe booksellers apologize for stocking with,\nsaying, \" we unfortunately have no other \".\nI have had the notion this time to ask at\nevery shop I went in to for the Cambridge\nShakespeare ... No, they had not that.\nAnd what 1 want to know is, wl Q £\nWhy, when we have a big am'\nUniversity like Cambridge Uni\nwhen Bookshops are presumab\nwith that University, and bo\nreaders of Shakespeare ready"}, {"page_pdf": 27, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 1526, "texte": "this muddling of things ? Why not send out\nenough copies abroad, ...to Paris, to Roma,\nto Amsterdam, Copenhagen, Bruxelles,\nHeidelberg, Weimar and other places where\none may be sure some one is going to ask\nfor a Shakespeare. Why not boom this best\nof editions.\nThis Cambridge Shakespeare is ideal. It\nis compact and the perfection of good taste :\neasily carrried in the pocket, light to hold,\nand costs six shillings net.\nThat's the trouble. In England that's not\ntoo much, but when turned into French\nfrancs or German marks or Kronen, Lire and\nGuildern with the Custom house duties added,\nit becomes too much.\nBut why not have a special little clause in\n;the agreements between nations which shall\nallow Shakespeare's works to enter all lands\nduty free, provided they are bound in paper\nonly; and then why not make a special effort\nto advertise the fact and start off with this\nwonderful Cambridge Edition ?\nlo get three million bayonets special\nefforts are made : to get half a million copies\nof Shakespeare spread around the world no\neffort is made ; ...a wrong thing... don't you\nthink it's wrong ?\nCambridge should make the first move.\nPresuming that University to be well sup-\nported by the nation's purse, and its Press\nendowed, it need not make profit but just\nto get the thing done would be such a feather\nin its cap.\nWhy be shy ? Why gulp up three\nhundred arguments, all sound yet senseless,\nto prove that it's not possible ...really not\npossible ?\nFor it's not only possible : it seems to be\nthe right thing to do."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c032", "article_bluemountain": "bmtnaau_1929-04_01#c032", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "76", "image_debut": 27, "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=bmtnaau192904-01.2.20", "titre_corps": "ON CREATING AND DESTROYING : A NOTE ON LAMBRANZI AND HIS BOOK OF DANCES", "titre_sommaire": "ON CREATING AND DESTROYING : A NOTE ON LAMBRANZI AND HIS BOOK OF DANCES", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.27", "debut_caractere": 1528, "fin_caractere_exclue": 3251, "texte": "ON CREATING AND\nDESTROYING\nA NOTE ON LAMBRANZI AND\nHIS BOOK OF DANCES\n\n\\¥/E give as our Frontispiece this quarter\none of the designs from Lambranzi's\n\" Nuova e Curiosa Scuola di Balli Teatrali\nwhich appeared in 1716. In this dance ... a\nRaguadon . . . Harlequin is playing the joke\nthat Launcelot Gobbo plays on his father Old\nGobbo in Shakes peare's \" Merchant of\nVenice \". Old Gobbo is also blind, and brin«\nging eggs or something to market in a basket.\nLambranzi has always puzzled \" The\nMask \" since it first heard his name ; and\nwhen in 1923 it published a design from\nLambranzi's book which was, we believe,\nthe very first to appear in any English publi-\ncation, it made no pretence that it could inform\nits readers about the author, the book, the\ndesigner or anything at all.\nNow Mr. Beaumont, .... Mr. Cyril Beau-\nmont the writer and historian of the Theatre\nand Mr. Beaumont the publisher of 75 Charing\nCross Road, .... have together, in their dual\nyet united individuality, brought out a reprint\nof the work with the illustrations all in order\nand handsomely reproduced, and only six\nyears after \" The Mask \" called attention to\nthe existence of Lambranzi and his book.\nHow slowly \" The Mask\" moves, you\nthink, it's wonders to perform. We rather\nthink that six years is a bit rapid.\nThere is a certain theatre person in Lon-\ndon who breaks his word and whom for that\nwe intend shortly to damn for a weak-kneed\nnobody: but he can't possibly be extermi-\nnated by that so suddenly that you witness\nany theatrical, any immediate catastrophe:\nhe will hang on for quite three or four years (,).\n\n(1) Now don't all rush to try on the cap, although quite a few\nof you have been so very unreliable, to say the least of it."}, {"page_pdf": 28, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 867, "texte": "Yes, we kill quicker than we can create.\nBeaumonts and Lambranzis are not easy\nto create, whereas Joneses, Smythes and\nRubinsohns puff out pretty easily.\nTo do this without care or thought, to\nwi Idly create or as wantonly destroy, would\nbe on our part to sink journalism to the level\nof the \" Daily Bubble \".\nWe have ever been proud since we\nbegan in \" The Mash. \" work in 1907 to do as\nwell as possible with our little journal in\nthe honourable field of journalism ...and we\nbelieve that here and there, in and around\n\" The Mask ' are to be found some original\nnice touches unique in journalism.\nThe Review of Reviews \", in saying\nThe Mask thinks what it says and thinks\na long time before saying it \", pays a compli-\nment we are happy to fancy we have earned\nand we are thinking long before we decide\nto kill or mutilate any Joneses Smythes or Ru-\nbinsohns.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c035", "article_bluemountain": "bmtnaau_1929-04_01#c035", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "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=bmtnaau192904-01.2.21", "titre_corps": "THE AMPHITHEATRE AT ARLES : AND \"THE MASK'S” NOTION OF GOOD SENSE", "titre_sommaire": "THE AMPHITHEATRE AT ARLES : AND \"THE MASK'S” NOTION OF GOOD SENSE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.28", "debut_caractere": 869, "fin_caractere_exclue": 3273, "texte": "THE AMPHITHEATRE\nAT ARLES\nAND \"THE MASK'S” NOTION\nOF GOOD SENSE\nJ. S.\nHERE on Plate 5 we see it as it was\nbuilt by the Romans, when they founded\nin about B. C. 99 their first colony at Aries,\nand on Plate 6 we see it after it had been\nunbuilt by the Middle Ages, and made useful\nat last. In that year, 1666, when M. Jacques\nPeytret comes to take its photograph and\nreally he has done that and magnificently too\nby 1666 the place is like a perfect walled\ntowm or like an apple dumpling where the\napple has popped into the dumpling, goodness\nknows how.\nThere is a rare volume entitled Descrip-\ntion | des Arenes ou | de l'Amphitheatre |\nd'Aries | par le Pere Joseph Gois Prestre de\nl'oratoire de Jesus | etc. MDCLXV.\nIt is a renowned work and is devoted\nentirely to this Amphitheatre of Aries, and\ntherein I found these two folding plates and\nthought to reproduce them for you full size.\nI hope none of you find \" The Mask \"\ngrowing at all * niggardly it wishes to be as\nample, as generous as possible ; but the truth\nis that that millionaire we were looking for\nin 1908 that famous man for whom every\nartist, every inventor, every performer and\nevery other silly fool is always looking\nthat millionaire who, when you find him,\nputs the fear of Hell into you with his awful\ntalk, etcetera, misinterpreting the uses of the\nbit of money he is cursed with .... has never\nyet come along.\nSo rely on us in future to give you more\nthan any millionaire will ever give us - any-\nthing else would be unthinkable for when\nthe poor gives to the rich the Devil laughs\nbut we can't help that.\nWe may some day have to eat these\nwords for this legend about the dull per-\nceptions of millionaires, their dull senses may\nbe all but a legend, may be a lie. Out of\nthree hundred of them there may be one who\nis fool enough to risk a disappointment\nthere may be one ready to feel silly for ha-\nving sent \" The Mask \" an anoymous cheque\nfo £ 5000 or £ 1000 put it as low as\n£ 100. Yes, that would assuredly cause a\ngood sensible millionaire with no nonsense\nabout him to shudder and feel dazed.\n\" The Mask \" as you know is run and\nhas been run on next to nothing and without\none penny of profit for twenty years, merely\nso as to keep the flag flving, you know\ndarned silly.\nAnd now we want to keep it up. to its\nmark and fill it with good things unobtainable\nelsewhere. Ought we oughtn't we to do\nit ? is it, we ask, sensible ?"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c037", "article_bluemountain": "bmtnaau_1929-04_01#c037", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "79", "image_debut": 29, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.22", "titre_corps": "WHAT ABOUT IT?", "titre_sommaire": "WHAT ABOUT IT?", "signature_source": "Loïs Lincoln", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 3668, "texte": "WHAT ABOUT IT?\n\nThe report that Mr. Gordon Craig had\nmade an alliance with an Englishman in\nLondon and was about to produce Hamlet,\nif not in German, then in English, and then\nMacbeth after that What about it ?.\nWELL, what about it?\" Mr. Craig\n* went on drawing, while from his gra-\nmophone (an inseparable companion; it seems)\ncame the words, \" Oh, don't be like that!\n\" Do you like this miracle of the age\nthis shallow box which only measures twelve\ninches by twelve-and-a-half inches yet from\nwhich comes out all the best and worst music\nof the world and all for two pounds?... Discs\nrecord about 2/6 each? Well, what\nabout it ? \", Mr. Craig went on more serious-\nly, turning off the music and so creating a\nstrange sense of silence - not to say of relief.\nI had asked him, what it meant this\nreport of an agreement to produce plays in\nLondon.\n\" But I have dozens of such ' agreements'\nif by that you mean proposals, offers even \",\nand he looked as if he meant to go off into\none of his bursts of merriment; \" even ' pro-\nmises in inverted commas \" given word\",\ndon't you know ? What do you call it when\nsomeone tells you he'll do something? Well,\ni m always hearing from people who'll do\nsomething, so this London affair is really\nnothing but one of the usual little back-slidings.\nI even forget who it was this time that gave\nme his word \".\nDid he really promise a production ? \"\n1 asked breathlessly.\nHe did, and Hamlet too. If the\nAlsatians didn't do it, then he would do it,\nalone he'd do it boy, and he'd follow it\nwith Macbeth. He Was a funny fellow. And\nI wish I could remember his name, because\nhe even let me know that he had lots of\nmoney behind him to do it with \".\n\" He was a rather nervous person which\naccounts for his not quite knowing what he\nwas talking about. Money he couldn't have\nhad, or it's not his own and may at any mo-\nment be switched away from him, so what's\nits value ? A man, to do anything worth\nwhile, must do it off his own bat.\n\" Oh yes, he outlined a scheme which\nseemed a fairly good scheme for establishing\na sound theatre in London it seemed a\ngoodish scheme to me, because it was the\none 1 had proposed in print somewhere back\nin 1912-13, and he had actually remembered\nit. This being 1929, it also seemed to me\na little old-fashioned, but probably well abreast\nof the times for this enthusiast I do wish\nI could remember his name \", and Mr. Craig\nwent to the door of his studio and, calling\nout to his assistants who work on the floor\nbelow—,\n\" ... Tell me!... What was the chap who\nplayed me the usual trick the London\nchap ? \"\nA fountain of sound swept up in reply.\nI caught at least thirty names, all bobbing\nup and down in a bubble of laughter. Then\na final, small, voice piped, \" Was it Mr.\nSmythe ? \"\nAt which Mr. Craig, thoroughly delighted\nto remember, coughed and said, \" How many\nthere are to-day on the swindle in the London\ntheatre world \", as he quietly closed the door\nand returned to me and to more serious talk.\n\" Quite seriously \", he said \" I do forget\nthese fellows because to remember a trick-\nster is to remember his trick and that's\nnot fair on the theatre. I prefer to forget it\nand him \".\n\" But you were going to produce Hamlet\nand Macbeth in London you say -\n\"Yes, and I am still going to do both at\nthe first opportunity \".\n\" When, and with whom ? \"\n\" When I can't say. With whom I can.\nWith some sound actors and myself. No\npartnership is possible with any but these.\nYou recall St Just's saying, Confidence is\nworthless when shared with worthless men.\nSo all I need is a few fine actors and actres-\nses and there are more to-day than there\nwere five years ago the younger people are\nremarkable \"."}, {"page_pdf": 30, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4129, "texte": "\" But you will have your theatre in Lon-\ndon ? \"\n\" I can't possibly say. But I may ask\nwhy not ? Has \" that Mr. Sniythe got hold\nof all of them ? Isn't there one left over in\nthe north, the east, or the south ? By the\nway, it's odd, talking of Smythe, did you\never hear of Robinson ?\n\" Why, of course \", I said, \" What of\nhim ? What about him\n\"Nothing, only its old Rubinsohn again ,\nand Mr. Craig chuckled as though he had\nreally made a discovery \".\n\" And don't you like the Jewish invasion\nof the theatre ?\" I asked.\n\" Fact is \", he replied, \" I was a rabid\nanti-semite once, and it was only when I dis-\ncovered that all the best men I know were\nJews, though I'd taken them for years for de-\nvout Christians, that I witheld my hand and\nceased my destructive work. \" No more mas-\nsacre of the innocent ones for me \", 1 said\nto myself. I can't believe that these, my\nJewish friends, are rapacious, cruel, lying,\nhideous, and without souls, for they are kind-\nness itself to me and seem to be all that s\nlovely though I secretly hope that they are\nthe other thing now and again \".\n\" But what has all this to do with the\ntheatre ? he stopped suddenly and asked.\n\" Jews bring us their talent, and take very\nlittle. What do they take ? Now what do\nthey really take ? Our money ? On the\ncontrary, they even bring us some of that\nmore than they take \".\n\" It's the Christian who takes all from the\nstage the Christian disguised as a Jew so\nthat he shall get back into Scotland unnoticed.\nThe Christian who works the stage for what\nit is worth is a good fellow too in his cruel\nway he's rather hard on some of the Jews\nbut he's not as intelligent as Ike \".\nListen to this \", and Craig has turned\non the immortal (to me infernal) \" I can't\ngive you anything but love \".\nDon't you like it ? \" he said, beaming\nat me.\nFrankly, I don't \" I said a bit sharply.\nCraig looked positively hurt. \" But its\nmodern \", he said. \" it's the thing the boys\nand girls love. They begin dancing when\nthey hear the band striking up with this. In\nthe Cafe Royal, I heard it and I asked, ' What's\nthat tune ? It's sweet ? '; they told me but I for-\ngot all about it, till at the Cafe Angleterre,\nin Paris, I heard it again. \" What s that\nthey are playing ?\" Next day, 1 bought a\nrecord for my Pathe Twin. So tnat when\nI got to Copenhagen, two months later, and\nSignor Gilio Oerola struck up this piece,\nplaying it as it ought to be played, I knew\nall about it. And now you tell me you don't\nlike it. You're out of touch with to-day.\nYou're prejudiced and rather feehngless .\nAs Mr Craig went on hurling all sorts\nof unkind things at me because I hated\nthis modern tune, I began to realise what it\nwas people quarrelled with him about. It\nreally resolves itself into this they hate\nhim for speaking the truth. He laughs while\ndoing so, but it stings all the same.\nDetermined to try to get at him, 1 ventured\non, \" Why do you antagonize everyone, Mr\nCraig ? \"\n\" Do I ? \" he asked.\n\" You certainly do \", I replied.\n\" How do I do it ? \" he asked and\nhe was quite sincere in his query I could\nfeel it.\n*' Why, you hurt people \".\n\"I ? \" he cried, half bellowing it, half\nwhispering it.\n\"Yes why, you hurt me over this\nsilly tune \".\n\" But it's not a silly tune and if you're\ncruel to the writer of it, and speak of what\nI like unkindly of course I'll defend him and\nit and in doing so I may hurt you or ra-\nther this is truer you may get hurt \".\n\" But I don't hurt people who haven't first\nstabbed me or someone I like or something\nI like Never!\" And his voice had the\nold, Ellen Terry ring in it.\nHearing it I knew him to be speaking\ntrue.\n\" But would you not bring all your pro-\njects to flower if you were dare I say it\nmore tacful ? \"\n\" Oh, you seer ! \" he cried at once, \" You\nare terrible in your discernment terrible! \"\nAnd he began to laugh again.\n\" Yes, I could have brought twenty little\nschemes to flower, as you say, by the sneak-\ning use of that degenerate thing called tact.\nBut I have brought my idea to flower just\nbecause I didn't use tact. Which is worth\nmost, an idea or twenty little schemes ? Well,\nnow that the idea has flowered, the fruit will"}, {"page_pdf": 31, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 1578, "texte": "be ripe quite soon. But I hold the ladder\nto the fruit, and there's not a soul can scale\nthat tree unless I wish it. Any offers ?\nand Mr Craig turned on Chopin's Etude\nin G sharp minor.\n\" Whenever I hear that piece,\" said he,\n\" 1 am reminded somehow of the most se-\nrious things that have ever been said. It's\nsomething which stops me talking and doing\nanything. Ail I can do is to say to myself,\nSo it is . . . the deaths of dear friends\nand of those who have to die, of our own\npassing all is in that piece, not gloomily\nsaid, but said all the same. And as nearly\nall my friends have been artists, and those\nwho have died have all of them died with\ntheir best work unwritten, unacted, and un-\nbuilt, their dearest schemes unsupported and\nthereby uncreated unborn, it is a very grave\npiece of music to me. You who come here\nto ask me questions, will you answer one\nquestion for me ? \"\n\" 1 will try \", I answered, feeling a little\nnervous at once.\nThere was a very long pause and then,\n\" What is the time ? \" he asked.\n\" Five minutes to one \", 1 said, quickly\nlooking at my wrist watch and happy that 1\nhad got off so easily.\n\" It's no such thmg\", he replied. \" It's\nfive minutes past Mussolini and for\nthis reason time for Europe to wake up and\nstop killing every worth-while idea. \"\nIt was perfectly plain to me as I walked\nback to the Principe Station in Genova that\nGordon Craig must have his theatres, schools,\njournals, and the rest given him by some\nwoman rich enough to appreciate them and\nhim for no man could possibly be so sensible.\nI'm a woman myself.\n\nLoïs Lincoln."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c039", "article_bluemountain": "bmtnaau_1929-04_01#c039", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "79", "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=bmtnaau192904-01.2.22.2", "titre_corps": "THE DEVICE OF THE ACCADEMIA NUOVA PADOVA", "titre_sommaire": "THE DEVICE OF THE ACCADEMIA NUOVA PADOVA", "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": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.31", "debut_caractere": 1580, "fin_caractere_exclue": 1620, "texte": "THE DEVICE OF THE\nACCADEMIA NUOVA\nPADOVA"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c040", "article_bluemountain": "bmtnaau_1929-04_01#c040", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "image_debut": 32, "image_fin": 32, "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=bmtnaau192904-01.2.23", "titre_corps": "THE THEATRE IS IRRESISTIBLE: ORGANIZE THE THEATRE", "titre_sommaire": "THE THEATRE IS IRRESISTIBLE: ORGANIZE THE THEATRE", "signature_source": "MATTHEW ARNOLD", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 64, "texte": "THE\nTHEATRE\nIS\nIRRESISTIBLE:\nORGANIZE\nTHE\nTHEATRE\nMATTHEW ARNOLD"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c042", "article_bluemountain": "bmtnaau_1929-04_01#c042", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192904-01.2.24", "titre_corps": "GRAMOPHONISM", "titre_sommaire": "GRAMOPHONISM", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 3922, "texte": "GRAMOPHONISM.\nD. P.\n44 TO BE EASIER PLAYED ON THAN A PIPE \".\nShakespeare.\nIT has of course occurred to you why Waldteufel became\nso popular fifty years ago. You heard him where ?\nOn organs, at concerts, at balls, may be fairly often ; but\nhe only become intensely popular when he was played\nin the circus for horses to prance to and in restaurants\nfor the dishes to enter to and to exit with.\n%\nWHAT a voice - lovely and ridiculous, and with no\nsmall talent for singing a song ; touching, and as\noriginal as she is ridiculous. So is Miss Kane.\nThe best thing of hers I have heard recorded on the\nGramophone is 44 Don't be like thatH. M. V.; B.\n2977.\nA grand record, also H. M. V., is the Concerto for\ntwo violins in E. Minor, Bach, played by Kreisler and\nZimbalist. D. B. 587 and 560.\nOn the reverse of 588 we have Tchaikovsky's An-\ndante cantabile Op. 1 1 perfectly played by Kreisler and\nsurely recorded by the Gramophone Company as perfectly.\nA big chasm separates Bach and Tchaikovsky with\nKreisler from little Miss Kane.\nBut what a blessing that every chasm has its two sides\nand sometimes more.\nHELEN Kane is a queer being she sings in Ame-\nrica she'll soon be singing all over the shop. By\nthe way, I suggest that that old song which made Little\nTich famous would suit Little Helen Kane ; she's quite\nlittle too, I'm told.\nI mean the song in which come the lines :—-\nPut me in my little bed\nSure to fall out on my head\nIn one place\nI never could stop\nI Was here there every where\nAll over the shop.\nShe would do it famously.\nBut she has made herself famous already after the\nusual years of uphill drudgery by singing 44 That's my\nweakness now \". And listening to her on the Gramophone\nsoon reveals a number of good things.\nBut she is stilted the machinery show's a little too\nclearly : that incessant lingering on the 44 but \" which ends\nthe second line of each verse is tedious, and the other\nsudden stops ; and while Miss Kane is amongst the best\nsingers in giving out word for word as clearly as words\nshould sound, she is a bit behind the very best in not\nhiding how she does it.\nThe same afternoon as I listened to Miss Kane I was\nlistening to Paderewsky play a well known Etude by Cho-\npin I had never heard him before.\nPaderewsky in playing is as precise as any music\nteacher in a girls' school would require he plays according\nto the rules, note for note clearly struck; but he hides\nit all in the most perfect manner with perfect manners.\nThis it is which makes him Paderewsky.\nAnd it is this Miss Kane has to learn.\nSome comedians have the art, and she should study\nhow they smooth the rough edges.\nMiss Kane has some tones in her voice which every-\none must love because they are so lovely but that\nis her heritage : she won't need to be told that can t be\nlost; but she does need to be told that, since she has some\nart in her and a good deal of technical skill, she needs\nnow only to use her commonsense and not exaggerate,\nnot listen to advice from men and women who hang\naround theatres, gramophone studios or talkies, but\nstop and think for herself train herself a little by lis-\ntening to a few Paderewsky and Kreisler records, by\nreading a good deal, and by studying the finest low co-\nmedians of the age the quietest.\nBut for all this some of this song reveals lovely things\nand I don't wish to seem ungrateful, especially that out-\nburst at the beginning 44 Love Love Love Love \".\nThen the 4£ oh my oh me \", and the fall in the\nvoice and the 44 Weakness now \" and the 44 oh let it rain\n... let it pour \".\nNothing lovelier has been heard for years.\nOh these comedians and comediennes. Think of\nYvette, of Bert Williams, of the dancer, ...I forget his\nname... who danced like water flowing in 44 Black\nBirds \", Cochran's review ; of Petrolini; ...it is these co-\nmic people who are such great artistes, who almost save\nthe legitimate stage as it lumbers along to perdition\nor worse.... to nothing."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c044", "article_bluemountain": "bmtnaau_1929-04_01#c044", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192904-01.2.25", "titre_corps": "CORRESPONDENCE", "titre_sommaire": "CORRESPONDENCE", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.33", "debut_caractere": 3924, "fin_caractere_exclue": 4699, "texte": "CORRESPONDENCE\n\nDESIGNS FOR “MACBETH”\nGORDON CRAIG.\nMY dear Semar,\nIt's not that I don't want to send you some of the\noriginal sketches for Macbeth to reproduce in the Quarterly\n44 Mask it's only that I can't get at them.\nThey are in Genova, packed away ; I am not yet\narrived there*. So your rivals 44 The Theatre Arts\nMonthly \" and the 44 Littlehampton Theatre Gazette \" and\nthe other twenty or thirty offspring of 44 The Mask \" must\nall be allowed to show off my designs in their pages\nbefore 44 The Mask\" may: that's quite as it should be:\nas it always is, was and ever will be.\nDon't let that fash you.\nI shall send you before long some designs which\nhave appeared in no other journal : perhaps one or two\nfor Macbeth which I didn't send over to America.\nYours sincerely"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c045", "article_bluemountain": "bmtnaau_1929-04_01#c045", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192904-01.2.25.1", "titre_corps": "DESIGNS FOR “MACBETH”", "titre_sommaire": "DESIGNS FOR “MACBETH”", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.33", "debut_caractere": 3940, "fin_caractere_exclue": 4699, "texte": "DESIGNS FOR “MACBETH”\nGORDON CRAIG.\nMY dear Semar,\nIt's not that I don't want to send you some of the\noriginal sketches for Macbeth to reproduce in the Quarterly\n44 Mask it's only that I can't get at them.\nThey are in Genova, packed away ; I am not yet\narrived there*. So your rivals 44 The Theatre Arts\nMonthly \" and the 44 Littlehampton Theatre Gazette \" and\nthe other twenty or thirty offspring of 44 The Mask \" must\nall be allowed to show off my designs in their pages\nbefore 44 The Mask\" may: that's quite as it should be:\nas it always is, was and ever will be.\nDon't let that fash you.\nI shall send you before long some designs which\nhave appeared in no other journal : perhaps one or two\nfor Macbeth which I didn't send over to America.\nYours sincerely"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c047", "article_bluemountain": "bmtnaau_1929-04_01#c047", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "84", "image_debut": 34, "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=bmtnaau192904-01.2.26", "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": 34, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 6158, "texte": "BOOK REVIEWS.\n\nBYRON, THE LAST JOURNEY,\nby Harold Nicolson. Constable & Co.\nPrice 7/6, (new edition).\nMEET MR. MULLINER, by P.\nG. Wodehouse. Tauchnitz Edition.\nLeipzig. Price / Mark 80.\nBOOKS are expensive things.\nIt is not of the publishers I would\ncomplain their item of the whole\nbill is only trifling : ... it's the authors\nwho are so costly.\nBooks are expensive things to take\nout to supper.\nI had with me last night Milord\nByron, Mr. Nicolson and Mr. P. G.\nWodehouse and you can't take them\nto any but the best restaurant in the\ntown it can't be done. And once\nthere it has to be a swagger supper.\nThere they are all together and\npossibly for the one and only time with\nme, and all such good company, be-\nsides being authors who agree in all\nessentials.\nThat's how it becomes so expensive.\nNicolson I had never met before,\nWodehouse often, Milord over and\nover again. 1 never felt that I got\nMilord wrong, ...I always seemed to\nsee him and through him, and so it\nwas to me a perfectly delightful\nevening to find Nicolson knew him\neven as well as I did. Wodehouse\nmerely entertained us all ...Milord\nwas in fits over his 44Came the Dawn\"\n44 Came the Dawn \" was the catch-\nword of the evening. 44 Yes Came\nthe dawn \" said Byron coldly with a\nmost divine look on his face, and then\nhe looked bang at Wodehouse.\n44 What a lark \" some unseen spirit\nseemed to be humming in the room as\nthe violins played and what a joy\nit really was.\nI all alone, and Lord 8., Nicol-\nson and P. G. W. with me.\nI let the bill run up : would it\ncould have been quadrupled, I read\nsome. of each of them ; the marvellous\n44 then throw Mr. Mulliner out\"\nthe delicious 44 It was already dark\nwhen Lord and Lady Blessington ar-\nrived at Genoa \" ; the illuminating 44 of\nall the peculiarities of B. his laugh is\nthat of which I have the most distinct\nrecollection \" : but that's by Hob-\nhouse— our dear, very dear Hobhouse,\nbut the fact recorded is of our great, I\nthink I will say, our very great Mi-\nlord—the poet Byron.\nI could no more 44 review ' ' Mr.\nHarold Nicolson's work after our jolly\nevening together than I could review\nhis face, his way, his walk. These\nthings are altogether beyond cold-brain-\ned reviewing.\nHe knows his Byron better than\nanyone else knows him and does\nhim all honour.\nHe has written perfectly about him\nin this 44 The last Journey, 1823-24\".\nHow often he has sat with him and\nwatched him so as to get under his skin,\nto know the real man so well that he\ncould afford to report lots of the rub-\nbish about him for the sake of the\neffects, need but be supposed, as you\nread these delicious pages.\nThe only thing which astounded,\nshocked, scandalized and puzzled eve-\nryone almost all about Lord\nByron was that he was such an ordi-\nnary human being. 44 The poetry is\nall thrown in\" he says: 44My poetry\ndon't speak of that that's done or\nto be done and there it is 44 skip\nyour dear uncle \" I beg; but I am\nworth a look, a glance, solely because\nI am just a plain ordinary human\nbeing and you, after all due apologies\nand affectionate hesitations, damme,\nqueer and most eccentric people \".\nThis is what Lord Byron seems\nto say under his breath, annd we may\nsafely add aloud 44 You who looked\nat him, judged, approved and disappro-\nved were - certainly not much to write\nhome about You were eccentric\nand a bit mad all of you ; he sane\n....essentially balanced. He human,\nyou all of you any how inhuman;\nhe himself ...he a 44 blood, bone, mar-\nrow, feeling \" fellow ; you appallingly\nhard, frightened and not yourselves..\nLike Lady Blessington, you mud-\ndled yourselves about him by confu-\nsing him in your thoughts with his\nheroes and villains. Like Mrs. Hunt,\nyou even tried to be 4 clever ' with\nhim to his embarassment.\nYes, you could embarass him, but\nyou could never get him to be clever\nwith you. There are limits and\na joke always is a joke.\nMr. Wodehouse is the kind of\nman, artist and writer who doesn't mind\nbeing passed over when Lord Byron\nis present (one doesn't forget him\neither) but who would have cause\nto object if any lesser man queered his\npitch.\nIt would be hard for most writers\nto do that. Mr. Wodehouse has just\nthe same Byronic swing.\nEase, and ability to top himself\nwhen he's at his best, and we think\nhe can't do better than in his stories\nabout 44 Mr Mulliner \" which are the\nstories I am on to now.\nI like to say I bought his book.\n44 The Bishop's Move \", one of the nine\ntales in his 44 Meet Mr Mulliner \", how\nawfully good ; impossible to do it\nbetter.\nHis sense of farce is perfect and\nhe carries farce to the very brink of\nits possibilities and never wavers for an\ninstant.\nA dangerous delightful experience\nit is to enjoy this author when he is\non the war-path.\n44 Tell him we are a couple of\ncats belonging to the cook* the Bishop\nwhispered \" ; .... I see Lord Byron\nconvulsed.\n\nSHAKESPEARE IN SERBIA by\nVladeta Popovic. Humphrey Milford\nOxford University Press. Price\n10/6 net.\nTHIS book, published by the Oxford\nUniversity Press for the Shake-\nspeare Association, throws much light\non the growth of interest in Shakespeare\nin Serbia, on the history of the trans-\nlations of Shakespeare into Serbian,,\nwith critical examination of these, and\non the Serbian attitude towards\nShakespeare, the whole being com-\npleted by a Bibliography giving the\ndates and translators of the various\nplays, a list of Serbian essays on\nShakespeare, and a further list of\nprincipal works bearing on the subject\nof the thesis.\nMr. Popovic, in his Foreword,\nrefers to two previous works on the\nsubject of Shakespeare in Serbia by\ntwo eminent Serbian critics and literary\nhistorians: the late J. Skerlic, whose\nbook, published in 1906, dwells chiefly\non the years 1856 to 1868, and\nProfessor Pavle Popovic, who, in his\narticle in English, 44 Shakespeare in\nSerbia \" in 44 A Book of Homage to\nShakespeare gives a wider survey of\nthe subject, enumerating the translated\nplays of Shakespeare in Serbian,\nCroatian, and Slovenian literature, and\nsome essays and articles written about\nthe poet and his works. 4 4 Their\nv/ritings \", he adds, 44 have served as\na starting-point in my research on the\ngrowth of interest in Shakespeare im\nSerbia \"."}, {"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 6661, "texte": "Mr. Popovic also explains that by\n44 Shakespeare in Serbia\" he means\nhere 44 Shakespeare among the Serbs,\n44 both those who before 1918 were\n44 under Austrian rule, and those who\n44 had their own kingdom. Although\n44 politically separated before 1918,\n44 their literature has always been one\nMr. Popovic's work, which was\naccepted as a thesis for the Degree of\nDoctor of Philosophy in the University\nof London in 1925, is a valuable\ncontribution to the books treating of\nthe works of Shakespeare in other\nlands, of which Dr. Lacy Collinson Mor-\nley's study on Shakespeare in Italy, (I)\nwas an outstanding example.\nThe present volume proves that in\nSerbia Shakespeare has found an en-\nthusiastic public.\nWhen the plays were first introduced\ninto the country a national conscious-\nness had but recently awakened in\nthe Serbs, and the translations of the\nEnglish dramatist aided them towards\nan appreciation of the beauty and\nforce of their own mother-tongue,\npreviously despised as the language of\nthe vulgar, but which now seemed, as a\nmedium for the transmission to them\nof these great plays, to assume a new\npower and dignity.\nPrevious to 1813, Mr. Popovic\ntells us, the only performances of plays\nin Serbian were given in schools, but\nalready in that year public perfor-\nmances had been given in Budapest\nby and for the Serbians living there,\nand in 1861 the National Theatre\nwas founded in Novi Sad. And\naround this theatre, in 1864, 44 the\nfirst group of admirers of Shakespeare\nwas gathered to celebrate the tercen-\ntenary of his birth \".\nIn 1869 the National Theatre was\nfounded in Belgrade, and from that\ntime there has been a steady progress\nin play-writing and theatrical production.\nIt was in 1859 that the first fragment\nof 44 Romeo and Juliet \" appeared in\nSerbian, five of Schiller's plays and\none of Voltaire's having been previously\ntranslated, while translations followed\nfrom Goethe in 1864, Corneille in\n1871, Sophocles in 1872, Moliere in\n1879, /Eschylus and Racine in 1885\nand Ibsen in 1891. But Mr. Popovic\nemphasizes the fact that 44 no one of\nthese dramatists has been so much and\nso many times translated as Shake-\nspeare, not one of them so often\nproduced \", for the Serbs, as well as\nthe Croats and Slovenes, 44 have a\ngenuine love of Shakespeare \".\nRelatively speaking, in fact, the\ninterest at present manifested in\nShakespeare in Serbia is at least as\ngreat as in England, .... which, if to\nthe credit of Serbia, is little to the\ncredit of England, so lethargic and\nhalf-hearted in regard to its great\ndramatist.\nThe Belgrade National Theatre\ngives frequent and 44 very ambitiously\nproduced productions \" of Shakespeare,\nto which as many spectators throng as\ncan find place ; in fact Shakespeare\nin Serbia is played to full houses;\nand, although we may grasp to some\nextent the significance of this, the true\nappreciation of the endeavours of the\nSerbs 44 to participate in the world-\npossession of Shakespeare \" is, as\nMr. Popovic reminds us, 44 possible\nonly when the circumstances of their\npolitical history and the development\nof their literature are taken into ac-\ncount \".\nBut what can England offer 44 to\nbe taken into account \" as condoning\nits apathy in regard to these plays\nwhich are part ....and a most superb\nand vital part ....of their great inheri-\ntance as Englishmen ?\n(1) Reviewed in ** The Mask '* Vol. XIV,\nNo. 2.\n\nTO THE PURE ...by Morris\nL. Ernest and William Seagle.\nViking Press. New York. Price\n$ 3.00.\nA NOTHER book presenting the case\n** against the censorship.\nIt appears at a moment when Eng-\nland is interested in young ladies\nwho write books about a part of life\n(and which they take for the whole of it,\nsince it is the part known best to them).\nWho is there but must have entire\nsympathy with these young ladies... who\nbut sees that their sincerity is genuine.\nIt is not wrong to censor these\nbooks but it's not too kind to encourage\nyoung ladies to write them. It is\nthat half-Hedged public which takes\nthe part for the whole which encou-\nrages these young writers to write and\nbe damned.\nMiss James's 44 The Sleeveless Er-\nrand \" and Miss Radcliffe Hall's\n4 4 The Well of Loneliness \" may or\nnot be censurable, but what is censu-\nrable is the inability of the censor to\ncontrol the public. Copies get out\nand wander round from pure person to\npure person.\nThey don't want Mr. Morris L.\nErnest's help even though Mr. Seagle\nhas helped Mr. Ernest.\nThey and I want what we mustn't\nhave....\n.... And You\n\nMR. JARDYNE by Gwen John.\nBasil Blackwell. Oxford. Price\nIj~ net.\nMISS JOHN'S very small play which\nshe calls 44 A mystery\" is, like\nall her work, delicate and with an\nidea in it.\nIt would need very good actors to\nget this idea across the footlights.\nActed in Liverpool at The Playhouse\nin 1925, it probably did get across,\nand the playlet is still in that Thea-\ntre's repertory.\nMiss John could write a fine big\nplay, I mean a good bit of a play,\nif she liked. lam prejudiced entirely\nin my attitude towards Miss John.\nLet her watch Augustus slapping it\nin on his canvasses and then let her\nbegin to slap away with the inkpot.\nTo be able to be so delicate is love-\nly : all is possible:—and now all\nshe needs is to 44 fling along Sambo \".\n\nBOHEMIAN. LITERARY AND\nSOCIAL LIFE IN PARIS by Sisley\nHuddleston. Harrap. Price 21 j- net.\nMR. Huddleston is qualified to give\nus a book about the life and\npersonalities of Bohemian and literary\nand social Paris because, as he says,\n44 Many busy and not unsuccessful\nyears have been spent in Paris in the\ncompany of artists and authors, minis-\nters and ambassadors, actors and jour-\nnalists and social personages of all kinds,\nBohemian and academic ; and I have\na wealth of memories \".\nAll that is a good preparation for\nwriting an entertaining book, and Mr.\nHuddleston has written one, full of\nfacts and information in 442 well filled\npages.\nHe offers vivid little pictures of scores\nof the great and the small personalities,\nof the Paris of the latter part of the\n19th and first quarter of the 20th cen-\ntury, and he has far from exhausted\nhimself in this one volume, for he de-\nclares that 44 in selecting the material\nfor the present Parisian Nights Enter-\ntainment I have remembered many\nother things ... and since, like Schehe-\nrazade, I must go on story-telling, there\nis a long vista of other Parisian Nights\nEntertainments ahead \".\nMeantime he has given us plenty to\ncarry on with, ...memories of Sarah\nBernhardt and Anatole France, of\nMme. Rejane, and Yvette Guiibert,\nof Matisse, Monet, Picasso, Rodin,\nAndre Maurois, Mme. Curie, Marcel\nProust, Loie Fuller, George Moore,\nJames Joyce, Gertrude Stein, Augustus\nJohn, Isadora Duncan and many more."}, {"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 3271, "texte": "He writes of the studios and the\ncafes and bars, of the cabarets and\nsalons, the bookshops and clubs ; of\nthe day world and the night world,\nthe world of work and the world of\nplay. And he moves through it all\nwith geniality and kindliness, with in-\ntelligence and tolerance and good\nmanners.\nTo Isadora Duncan he devotes a\nchapter under the title of 44 The Tra-\ngedy of a Dancer \", and he spreads\nthe apochryphal account given by some\none obviously not Miss Duncan of the\nway in which she introduced Gordon\nCraig to Madame Duse.\nI look forward to that further series\nof sketches of what the author calls44 the\nvariegated cosmopolitan Paris ' ...\n44 a curious kaleidoscopic Paris that\nhas changed its morals and its manners\nin this our Cocktail Epoch \" such as\nhe evidently holds in store.\nBut who can be 44 the great Italian\nactor Soldini \" on page 429 ? I sup-\npose I take it he was great,\nbut who was he ?\nAnatole France, I take it now,\nwas a bit of a fool. It is the first\ntime I ever read anything about him.\nSee how misleading good, jolly\ngood, spanking fine, chatty books like\nthis one can be. And if that is not the\nfinest good reason for such books\ntheir best excuse to fool the people\nwho don't know, then some one must\nbe at pains to explain what is their\nreason for existence.\n\nTHE ELIZABETHAN JIQ; and\nrelated Song Drama by Charles Read\nBaskervill. University of Chicago\nPress & Oxford University Press.\nPrice 22/6 net.\nLORY be to Charles Read Basker-\nvill, here is a book from which\nthe words Commedia dell'Arte are\nexcluded. Yet it's all about the Jig\nand the stage and the gay times of\nEliza. And about Picklehering too.\nGood egg good Charles Read\nBaskervill, praise be to him not to\nhave uttered the now so popular shib-\nboleth, the Commedia dell'Arte. He\nwas quite safe he felt, he could pass\nalong without it.\n369 pages all about the Jig ; and\nabout 200 more filled with queer songs,\namongst them the interesting 44 Singing\nSimpkin \" which is but another version\nof old Hans Sach's playlet which is\nbut a blithe tale from the 44 Decame-\nrone \".\nBut why is not old Sachs men-\ntioned as having done a version ? eve-\nryone else who had a shot at it is.\nIt's the old tale of the man in the chest\nand the adroit woman and the swagger-\ning soldier and not so stupid husband.\nSeveral old tunes are recorded.\nQuite a bit of a book and all about\nJigs:—\n\" O' my dainty Cavalilly man,\nMy finnikin Cavalilly man,\nFor God's cause and the Protestants,\nI prithee le' me gang with thee, man \".\nShe means Cavalier man, but she\nof the 16th century was no less dri-\nveling when she liked than any other.\n\nTHE FANFROLICO PRESS.\nTHE FANFROLICO PRESS\" of\n5 Bloomsbury Square produ-\nces a lot of big books and some small\nones, and seems to be making a very\ngreat success of it.\nOne especially nice little piece of\nprinting is the 3/6 d. book on William\nBlake. Another good piece is the\n4 4 Parlement of Prattlers\", which is\nthe first reprint of the old and little\nknown volume of 1 593. This is pub-\nlished at 15/-.\nHow these small books can be\nbrought out at so small a figure is\nwhat surprises us.\nThe two volumes on Beddoes are\namong the most interesting that this\nPress has issued. This work is pre-\nfaced by an essay written by Sir\nEdmund Gosse shortly before his death."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c049", "article_bluemountain": "bmtnaau_1929-04_01#c049", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "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=bmtnaau192904-01.2.26.2", "titre_corps": "BYRON, THE LAST JOURNEY by Harold NicolsonMEET MR MULLINER by P. G. Wodehouse", "titre_sommaire": "BYRON, THE LAST JOURNEY by Harold NicolsonMEET MR MULLINER by P. G. Wodehouse", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.34", "debut_caractere": 15, "fin_caractere_exclue": 4819, "texte": "BYRON, THE LAST JOURNEY,\nby Harold Nicolson. Constable & Co.\nPrice 7/6, (new edition).\nMEET MR. MULLINER, by P.\nG. Wodehouse. Tauchnitz Edition.\nLeipzig. Price / Mark 80.\nBOOKS are expensive things.\nIt is not of the publishers I would\ncomplain their item of the whole\nbill is only trifling : ... it's the authors\nwho are so costly.\nBooks are expensive things to take\nout to supper.\nI had with me last night Milord\nByron, Mr. Nicolson and Mr. P. G.\nWodehouse and you can't take them\nto any but the best restaurant in the\ntown it can't be done. And once\nthere it has to be a swagger supper.\nThere they are all together and\npossibly for the one and only time with\nme, and all such good company, be-\nsides being authors who agree in all\nessentials.\nThat's how it becomes so expensive.\nNicolson I had never met before,\nWodehouse often, Milord over and\nover again. 1 never felt that I got\nMilord wrong, ...I always seemed to\nsee him and through him, and so it\nwas to me a perfectly delightful\nevening to find Nicolson knew him\neven as well as I did. Wodehouse\nmerely entertained us all ...Milord\nwas in fits over his 44Came the Dawn\"\n44 Came the Dawn \" was the catch-\nword of the evening. 44 Yes Came\nthe dawn \" said Byron coldly with a\nmost divine look on his face, and then\nhe looked bang at Wodehouse.\n44 What a lark \" some unseen spirit\nseemed to be humming in the room as\nthe violins played and what a joy\nit really was.\nI all alone, and Lord 8., Nicol-\nson and P. G. W. with me.\nI let the bill run up : would it\ncould have been quadrupled, I read\nsome. of each of them ; the marvellous\n44 then throw Mr. Mulliner out\"\nthe delicious 44 It was already dark\nwhen Lord and Lady Blessington ar-\nrived at Genoa \" ; the illuminating 44 of\nall the peculiarities of B. his laugh is\nthat of which I have the most distinct\nrecollection \" : but that's by Hob-\nhouse— our dear, very dear Hobhouse,\nbut the fact recorded is of our great, I\nthink I will say, our very great Mi-\nlord—the poet Byron.\nI could no more 44 review ' ' Mr.\nHarold Nicolson's work after our jolly\nevening together than I could review\nhis face, his way, his walk. These\nthings are altogether beyond cold-brain-\ned reviewing.\nHe knows his Byron better than\nanyone else knows him and does\nhim all honour.\nHe has written perfectly about him\nin this 44 The last Journey, 1823-24\".\nHow often he has sat with him and\nwatched him so as to get under his skin,\nto know the real man so well that he\ncould afford to report lots of the rub-\nbish about him for the sake of the\neffects, need but be supposed, as you\nread these delicious pages.\nThe only thing which astounded,\nshocked, scandalized and puzzled eve-\nryone almost all about Lord\nByron was that he was such an ordi-\nnary human being. 44 The poetry is\nall thrown in\" he says: 44My poetry\ndon't speak of that that's done or\nto be done and there it is 44 skip\nyour dear uncle \" I beg; but I am\nworth a look, a glance, solely because\nI am just a plain ordinary human\nbeing and you, after all due apologies\nand affectionate hesitations, damme,\nqueer and most eccentric people \".\nThis is what Lord Byron seems\nto say under his breath, annd we may\nsafely add aloud 44 You who looked\nat him, judged, approved and disappro-\nved were - certainly not much to write\nhome about You were eccentric\nand a bit mad all of you ; he sane\n....essentially balanced. He human,\nyou all of you any how inhuman;\nhe himself ...he a 44 blood, bone, mar-\nrow, feeling \" fellow ; you appallingly\nhard, frightened and not yourselves..\nLike Lady Blessington, you mud-\ndled yourselves about him by confu-\nsing him in your thoughts with his\nheroes and villains. Like Mrs. Hunt,\nyou even tried to be 4 clever ' with\nhim to his embarassment.\nYes, you could embarass him, but\nyou could never get him to be clever\nwith you. There are limits and\na joke always is a joke.\nMr. Wodehouse is the kind of\nman, artist and writer who doesn't mind\nbeing passed over when Lord Byron\nis present (one doesn't forget him\neither) but who would have cause\nto object if any lesser man queered his\npitch.\nIt would be hard for most writers\nto do that. Mr. Wodehouse has just\nthe same Byronic swing.\nEase, and ability to top himself\nwhen he's at his best, and we think\nhe can't do better than in his stories\nabout 44 Mr Mulliner \" which are the\nstories I am on to now.\nI like to say I bought his book.\n44 The Bishop's Move \", one of the nine\ntales in his 44 Meet Mr Mulliner \", how\nawfully good ; impossible to do it\nbetter.\nHis sense of farce is perfect and\nhe carries farce to the very brink of\nits possibilities and never wavers for an\ninstant.\nA dangerous delightful experience\nit is to enjoy this author when he is\non the war-path.\n44 Tell him we are a couple of\ncats belonging to the cook* the Bishop\nwhispered \" ; .... I see Lord Byron\nconvulsed."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c050", "article_bluemountain": "bmtnaau_1929-04_01#c050", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "83", "image_debut": 34, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.26.3", "titre_corps": "SHAKESPEARE IN SERBIA by Vladeta Popovic", "titre_sommaire": "SHAKESPEARE IN SERBIA by Vladeta Popovic", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.34", "debut_caractere": 4821, "fin_caractere_exclue": 6158, "texte": "SHAKESPEARE IN SERBIA by\nVladeta Popovic. Humphrey Milford\nOxford University Press. Price\n10/6 net.\nTHIS book, published by the Oxford\nUniversity Press for the Shake-\nspeare Association, throws much light\non the growth of interest in Shakespeare\nin Serbia, on the history of the trans-\nlations of Shakespeare into Serbian,,\nwith critical examination of these, and\non the Serbian attitude towards\nShakespeare, the whole being com-\npleted by a Bibliography giving the\ndates and translators of the various\nplays, a list of Serbian essays on\nShakespeare, and a further list of\nprincipal works bearing on the subject\nof the thesis.\nMr. Popovic, in his Foreword,\nrefers to two previous works on the\nsubject of Shakespeare in Serbia by\ntwo eminent Serbian critics and literary\nhistorians: the late J. Skerlic, whose\nbook, published in 1906, dwells chiefly\non the years 1856 to 1868, and\nProfessor Pavle Popovic, who, in his\narticle in English, 44 Shakespeare in\nSerbia \" in 44 A Book of Homage to\nShakespeare gives a wider survey of\nthe subject, enumerating the translated\nplays of Shakespeare in Serbian,\nCroatian, and Slovenian literature, and\nsome essays and articles written about\nthe poet and his works. 4 4 Their\nv/ritings \", he adds, 44 have served as\na starting-point in my research on the\ngrowth of interest in Shakespeare im\nSerbia \"."}, {"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 3362, "texte": "Mr. Popovic also explains that by\n44 Shakespeare in Serbia\" he means\nhere 44 Shakespeare among the Serbs,\n44 both those who before 1918 were\n44 under Austrian rule, and those who\n44 had their own kingdom. Although\n44 politically separated before 1918,\n44 their literature has always been one\nMr. Popovic's work, which was\naccepted as a thesis for the Degree of\nDoctor of Philosophy in the University\nof London in 1925, is a valuable\ncontribution to the books treating of\nthe works of Shakespeare in other\nlands, of which Dr. Lacy Collinson Mor-\nley's study on Shakespeare in Italy, (I)\nwas an outstanding example.\nThe present volume proves that in\nSerbia Shakespeare has found an en-\nthusiastic public.\nWhen the plays were first introduced\ninto the country a national conscious-\nness had but recently awakened in\nthe Serbs, and the translations of the\nEnglish dramatist aided them towards\nan appreciation of the beauty and\nforce of their own mother-tongue,\npreviously despised as the language of\nthe vulgar, but which now seemed, as a\nmedium for the transmission to them\nof these great plays, to assume a new\npower and dignity.\nPrevious to 1813, Mr. Popovic\ntells us, the only performances of plays\nin Serbian were given in schools, but\nalready in that year public perfor-\nmances had been given in Budapest\nby and for the Serbians living there,\nand in 1861 the National Theatre\nwas founded in Novi Sad. And\naround this theatre, in 1864, 44 the\nfirst group of admirers of Shakespeare\nwas gathered to celebrate the tercen-\ntenary of his birth \".\nIn 1869 the National Theatre was\nfounded in Belgrade, and from that\ntime there has been a steady progress\nin play-writing and theatrical production.\nIt was in 1859 that the first fragment\nof 44 Romeo and Juliet \" appeared in\nSerbian, five of Schiller's plays and\none of Voltaire's having been previously\ntranslated, while translations followed\nfrom Goethe in 1864, Corneille in\n1871, Sophocles in 1872, Moliere in\n1879, /Eschylus and Racine in 1885\nand Ibsen in 1891. But Mr. Popovic\nemphasizes the fact that 44 no one of\nthese dramatists has been so much and\nso many times translated as Shake-\nspeare, not one of them so often\nproduced \", for the Serbs, as well as\nthe Croats and Slovenes, 44 have a\ngenuine love of Shakespeare \".\nRelatively speaking, in fact, the\ninterest at present manifested in\nShakespeare in Serbia is at least as\ngreat as in England, .... which, if to\nthe credit of Serbia, is little to the\ncredit of England, so lethargic and\nhalf-hearted in regard to its great\ndramatist.\nThe Belgrade National Theatre\ngives frequent and 44 very ambitiously\nproduced productions \" of Shakespeare,\nto which as many spectators throng as\ncan find place ; in fact Shakespeare\nin Serbia is played to full houses;\nand, although we may grasp to some\nextent the significance of this, the true\nappreciation of the endeavours of the\nSerbs 44 to participate in the world-\npossession of Shakespeare \" is, as\nMr. Popovic reminds us, 44 possible\nonly when the circumstances of their\npolitical history and the development\nof their literature are taken into ac-\ncount \".\nBut what can England offer 44 to\nbe taken into account \" as condoning\nits apathy in regard to these plays\nwhich are part ....and a most superb\nand vital part ....of their great inheri-\ntance as Englishmen ?\n(1) Reviewed in ** The Mask '* Vol. XIV,\nNo. 2."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c051", "article_bluemountain": "bmtnaau_1929-04_01#c051", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 35, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.26.4", "titre_corps": "TO THE PURE ...by Morris L. Ernest", "titre_sommaire": "TO THE PURE ...by Morris L. Ernest", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "debut_caractere": 3364, "fin_caractere_exclue": 4462, "texte": "TO THE PURE ...by Morris\nL. Ernest and William Seagle.\nViking Press. New York. Price\n$ 3.00.\nA NOTHER book presenting the case\n** against the censorship.\nIt appears at a moment when Eng-\nland is interested in young ladies\nwho write books about a part of life\n(and which they take for the whole of it,\nsince it is the part known best to them).\nWho is there but must have entire\nsympathy with these young ladies... who\nbut sees that their sincerity is genuine.\nIt is not wrong to censor these\nbooks but it's not too kind to encourage\nyoung ladies to write them. It is\nthat half-Hedged public which takes\nthe part for the whole which encou-\nrages these young writers to write and\nbe damned.\nMiss James's 44 The Sleeveless Er-\nrand \" and Miss Radcliffe Hall's\n4 4 The Well of Loneliness \" may or\nnot be censurable, but what is censu-\nrable is the inability of the censor to\ncontrol the public. Copies get out\nand wander round from pure person to\npure person.\nThey don't want Mr. Morris L.\nErnest's help even though Mr. Seagle\nhas helped Mr. Ernest.\nThey and I want what we mustn't\nhave....\n.... And You"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c052", "article_bluemountain": "bmtnaau_1929-04_01#c052", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 35, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.2.26.5", "titre_corps": "MR. JARDYNE by Gwen John", "titre_sommaire": "MR. JARDYNE by Gwen John", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "debut_caractere": 4464, "fin_caractere_exclue": 5203, "texte": "MR. JARDYNE by Gwen John.\nBasil Blackwell. Oxford. Price\nIj~ net.\nMISS JOHN'S very small play which\nshe calls 44 A mystery\" is, like\nall her work, delicate and with an\nidea in it.\nIt would need very good actors to\nget this idea across the footlights.\nActed in Liverpool at The Playhouse\nin 1925, it probably did get across,\nand the playlet is still in that Thea-\ntre's repertory.\nMiss John could write a fine big\nplay, I mean a good bit of a play,\nif she liked. lam prejudiced entirely\nin my attitude towards Miss John.\nLet her watch Augustus slapping it\nin on his canvasses and then let her\nbegin to slap away with the inkpot.\nTo be able to be so delicate is love-\nly : all is possible:—and now all\nshe needs is to 44 fling along Sambo \"."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c053", "article_bluemountain": "bmtnaau_1929-04_01#c053", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "84", "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=bmtnaau192904-01.2.26.6", "titre_corps": "BOHEMIAN, LITERARY AND SOCIAL LIFE IN PARIS by Sisley Huddleston", "titre_sommaire": "BOHEMIAN, LITERARY AND SOCIAL LIFE IN PARIS by Sisley Huddleston", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "debut_caractere": 5205, "fin_caractere_exclue": 6661, "texte": "BOHEMIAN. LITERARY AND\nSOCIAL LIFE IN PARIS by Sisley\nHuddleston. Harrap. Price 21 j- net.\nMR. Huddleston is qualified to give\nus a book about the life and\npersonalities of Bohemian and literary\nand social Paris because, as he says,\n44 Many busy and not unsuccessful\nyears have been spent in Paris in the\ncompany of artists and authors, minis-\nters and ambassadors, actors and jour-\nnalists and social personages of all kinds,\nBohemian and academic ; and I have\na wealth of memories \".\nAll that is a good preparation for\nwriting an entertaining book, and Mr.\nHuddleston has written one, full of\nfacts and information in 442 well filled\npages.\nHe offers vivid little pictures of scores\nof the great and the small personalities,\nof the Paris of the latter part of the\n19th and first quarter of the 20th cen-\ntury, and he has far from exhausted\nhimself in this one volume, for he de-\nclares that 44 in selecting the material\nfor the present Parisian Nights Enter-\ntainment I have remembered many\nother things ... and since, like Schehe-\nrazade, I must go on story-telling, there\nis a long vista of other Parisian Nights\nEntertainments ahead \".\nMeantime he has given us plenty to\ncarry on with, ...memories of Sarah\nBernhardt and Anatole France, of\nMme. Rejane, and Yvette Guiibert,\nof Matisse, Monet, Picasso, Rodin,\nAndre Maurois, Mme. Curie, Marcel\nProust, Loie Fuller, George Moore,\nJames Joyce, Gertrude Stein, Augustus\nJohn, Isadora Duncan and many more."}, {"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 1288, "texte": "He writes of the studios and the\ncafes and bars, of the cabarets and\nsalons, the bookshops and clubs ; of\nthe day world and the night world,\nthe world of work and the world of\nplay. And he moves through it all\nwith geniality and kindliness, with in-\ntelligence and tolerance and good\nmanners.\nTo Isadora Duncan he devotes a\nchapter under the title of 44 The Tra-\ngedy of a Dancer \", and he spreads\nthe apochryphal account given by some\none obviously not Miss Duncan of the\nway in which she introduced Gordon\nCraig to Madame Duse.\nI look forward to that further series\nof sketches of what the author calls44 the\nvariegated cosmopolitan Paris ' ...\n44 a curious kaleidoscopic Paris that\nhas changed its morals and its manners\nin this our Cocktail Epoch \" such as\nhe evidently holds in store.\nBut who can be 44 the great Italian\nactor Soldini \" on page 429 ? I sup-\npose I take it he was great,\nbut who was he ?\nAnatole France, I take it now,\nwas a bit of a fool. It is the first\ntime I ever read anything about him.\nSee how misleading good, jolly\ngood, spanking fine, chatty books like\nthis one can be. And if that is not the\nfinest good reason for such books\ntheir best excuse to fool the people\nwho don't know, then some one must\nbe at pains to explain what is their\nreason for existence."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c054", "article_bluemountain": "bmtnaau_1929-04_01#c054", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 36, "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=bmtnaau192904-01.2.26.7", "titre_corps": "THE ELIZABETHAN JIG by Charles Read", "titre_sommaire": "THE ELIZABETHAN JIG by Charles Read", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 1290, "fin_caractere_exclue": 2603, "texte": "THE ELIZABETHAN JIQ; and\nrelated Song Drama by Charles Read\nBaskervill. University of Chicago\nPress & Oxford University Press.\nPrice 22/6 net.\nLORY be to Charles Read Basker-\nvill, here is a book from which\nthe words Commedia dell'Arte are\nexcluded. Yet it's all about the Jig\nand the stage and the gay times of\nEliza. And about Picklehering too.\nGood egg good Charles Read\nBaskervill, praise be to him not to\nhave uttered the now so popular shib-\nboleth, the Commedia dell'Arte. He\nwas quite safe he felt, he could pass\nalong without it.\n369 pages all about the Jig ; and\nabout 200 more filled with queer songs,\namongst them the interesting 44 Singing\nSimpkin \" which is but another version\nof old Hans Sach's playlet which is\nbut a blithe tale from the 44 Decame-\nrone \".\nBut why is not old Sachs men-\ntioned as having done a version ? eve-\nryone else who had a shot at it is.\nIt's the old tale of the man in the chest\nand the adroit woman and the swagger-\ning soldier and not so stupid husband.\nSeveral old tunes are recorded.\nQuite a bit of a book and all about\nJigs:—\n\" O' my dainty Cavalilly man,\nMy finnikin Cavalilly man,\nFor God's cause and the Protestants,\nI prithee le' me gang with thee, man \".\nShe means Cavalier man, but she\nof the 16th century was no less dri-\nveling when she liked than any other."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c055", "article_bluemountain": "bmtnaau_1929-04_01#c055", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 36, "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=bmtnaau192904-01.2.26.8", "titre_corps": "THE FANFROLICO PRESS", "titre_sommaire": "THE FANFROLICO PRESS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 2605, "fin_caractere_exclue": 3271, "texte": "THE FANFROLICO PRESS.\nTHE FANFROLICO PRESS\" of\n5 Bloomsbury Square produ-\nces a lot of big books and some small\nones, and seems to be making a very\ngreat success of it.\nOne especially nice little piece of\nprinting is the 3/6 d. book on William\nBlake. Another good piece is the\n4 4 Parlement of Prattlers\", which is\nthe first reprint of the old and little\nknown volume of 1 593. This is pub-\nlished at 15/-.\nHow these small books can be\nbrought out at so small a figure is\nwhat surprises us.\nThe two volumes on Beddoes are\namong the most interesting that this\nPress has issued. This work is pre-\nfaced by an essay written by Sir\nEdmund Gosse shortly before his death."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c056", "article_bluemountain": "bmtnaau_1929-04_01#c056", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "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=bmtnaau192904-01.2.27", "titre_corps": "EDITORIAL NOTES : APRIL: MAY: JUNE", "titre_sommaire": "EDITORIAL NOTES : APRIL: MAY: JUNE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 3273, "fin_caractere_exclue": 5900, "texte": "ART AND R ÜBRISH .\nWE hate destruction; even the\nwholesale destruction, of mo-\ndern Art and Artists, is distasteful to\nus; so we mean well under this grave\ntemptation when we turn and render\none smile of affectionate respect to the\nshade of the scene-painter William\nLloyd who on February 7, 1845, in a\nsudden flare of illumination - as by\ninstinct on to the right track for a mo-\nment hurled a heavy bit of basalt\nat that idiocy of all art and craft 44 The\nPortland Vase \" as it sat there irritating\nhim in a glass case at the British Museum.\nHe was fined £ 3 and the vase was\nput together again by a drudge called\nDoubleday who contrived to hide ail the\njoins; —in over a hundred and twenty\npieces had Portland's vase fallen\nLloyd had hurled the basalt straight.\nHe knew the pot wasn't worth the\nveneration it was some day to command\nand he was right. But what vision!!!\nand what a shot.\nThis patched affair this cobbled\njar appeared at Christie's before a\nbreathless audience on May 2nd and\nin this enlightened year of nineteen\nhundred and twenty-nine 29,000 gui-\nneas was solemnly offered for these\nbits and as solemnly refused. The\nsilly vase returns to the British Mu-\nseum so we learn.\nThe thing had been guarded by\npolice and detectives on its way to\nChristie's ; great secrecy was observed ;\nno one was to know what he knew,\nand, while at Christie's it had been\ndeposited in a special and secret safe\nunknown, they say, to even Messrs\nChristie : and it was indeed with\ndifficulty that on May 2nd anyone\ncould be found who remembered really\never having seen the vase.\n44 Wot vase } \" asked the Policeman\nX of Policeman Y when the salesmen\ncame down to the vaults to take it\nupstairs for H. R. H. the Prince of\nWales to see. 44 No vase wot I knows\nof \" replied Policeman Y. to himself,\nand P. C. X. and the salesmen turned\naway lest they might overhear him.\nThere was a delay of twenty-five\nminutes while the four men tried to\nremember what it was they were all\ntalking about and finally they re-\nmembered 44 the rubbishy little thing\nover there \" and P. C. X. pointed to\nthe urn which was wrapped in a bit of\nnewspaper and on its side in the corner\nof the room behind the paper basket.\nBy this time the crowd upstairs had\nbecome restless and some rough handling\ntook place before the precious object The\nPortland Vase could be unobservantly\nconveyed from below into its case near\nMr. McKenna's elbow and hammer.\nMr. McKenna's admiration for this\nbeautiful piece was the only genuine\nenthusiasm in that room. It was its\nmoney he wanted, and he anticipated\nat least £ 100,000 we believe.\n\nEDITORIAL NOTES\nAPRIL: MAY: JUNE"}, {"page_pdf": 37, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 6089, "texte": "The joy of it all is this : that,\ngiven Mr. McKenna, a one penny\npiece of the reign of George V. could\nbe made to fetch £ 20,000 or more,\nprovided Mr. McKenna could hit on\nthe right story.\nIt's the ripe old rubbish which\npeople will pay for, not the lovely fresh\nworks of arts of today's young artists.\nWell, good luck to those who have\nthe complaisance to be bamboozled\nand to refuse to admit any such thing\nas even faintly possible. Oh but how\npleasant, easy and hellish !\n\nA REALLYTxPEmivFI\\HN.\nAT the end of 1918 David Belasco\nclosed his theatre for eight weeks\nrehearsals and spent £ 60,000 covering\nthe boxes and orchestra stalls with steel\nso that he might produce a play called\n44 Mima \" in which scenes to represent\nHell were presented.\nIt appears that Mr. Belasco tore out\nand scrapped the entire lighting system\nof the theatre and installed a new one,\nand that the 44 whole stage collapsed\nin the most terrific moment that ever\nhappened in a theatre \".\nBut there is one satisfaction about\nthis sort of thing ; it refutes that fallacy\nthat Craig's productions are terribly\nexpensive and that he demands impos-\nsible conditions. So far as we know\nhe has never spent a tenth part of such\na sum on any production.\nIrving, Reinhardt, and more of the\nproducers of plays have spent £ 10,000,\n£ 15,000, £ 25,000, and, as we see,\n£ 60,000 per piece. 44 The Miracle \"\nas done in London cost £ 80,000.\n\no RETROSPECT, o\n|N Paris lately the English Players, led\n* by Mr. Fred Stirling and Mr. Frank\nReynolds, announced the production of\nan old play in the following words :\nTonight and To-morrow at 8.45\n44 THE BELLS \"\nSir Henry Irving's Greatest Success.\nWhat is the next thing to say, we\nwonder ? It sounds sort of final, but\nwe hope not.\nIndeed, we hope that in future we\nmay read more announcements of old\ntriumphs in the very latest of reclames.\n\no CINEMA HA VOC. o\nMR. Justice Mackinnon on or about\nMarch 5th 1929, clearing his\nthroat, gave forth the following anathema:\n•• I HAVE ALWAYS REGARDED\nTHE CINEMA INDUSTRY AS THE\nGREATEST MENACE THAT HAS\nEVER ARISEN TO LITERATURE,\nART AND CIVILISATION\".\nWe have had the good luck to say\nthis for the last six years or longer in\n\" The Mask and presumably other\npeople have been thinking about it too,\nmay be have even said it, and are\nsaying it still; but what we would like\nto see is the Daily Paper saying it.\nBecause the Daily Paper could say\nit without offending and to the good\nof humanity.\nThe Cinema gives a joyous show\nwhen it gives us Fairbanks as D'Ar-\ntagnan ; it gives us lots of good things\nbesides and its uses are many. Our\nsole point is that to do this without\nbeing a menace to civilisation should\nbe surely possible : and this the Press\ncould long ago have made clear was\nan essential if it were to win the lasting\nsupport of others.\nAs it is IT seems a law to itself\n— supports itself and ruins the world\nwithout any thought of anyone but itself.\nThere are some things, of course,\nwhich die out if you leave them alone,\nand of course the great legislators, with\ntheir discernment, which is rarer than\nso many other rarities, can sort out\nthe things which will die if left to their\nown devices and those which need to\nbe killed off. But for our part we\nshould have thought that this was one\nof the things to kill off quickly, lest\nall the legislators, with their discern-\nment and all their mighty self-control,\nalso get nipped in the bud. Who should\nsay ? Look !\n\nMETEORITE HAVOC.\n11.000 SQUARE MILES\no DE 5 7,4 rEP . o\nA huge meteorite fell in Siberia\n* * in about the year 1908 and re-\ncently a certain Professor Kulik went\nout to see what damage had been done.\nHe discovered that a portion of the\nearth equal to the size of Belgium had\nbeen flattened out and was dead, so\nthat it really does not matter a two-\npenny piece whether the cinema goes\non or doesn't.\nWhile there is something over which\neven legislators can have no control,\nnor newspapers, nor nobody, it is pro-\nbably as well to look on the Cinema\nas a very little nothing and to allow\nthis more or less non-existent thing its\nfull liberty. #Ban, 'Ban, Cacaliban...\n\nLEGEND '^OW^AWAY.\nHEY may not know how to make\nShakespeare plus Craig pay in\nLondon: that's their trouble. In\nAmerica they seem to have the swing.\n£ 5000 and more is being taken\nper week by Mr. Tyler with Shake-\nspeare's 44 Macbeth designment by\nGordon Craig.\n44 Macbeth is being toured round\nAmerica alone — no repertory — one\nplay alone — a tragedy — a great\none.... and the draw is Craig.\nSo 44 the terror of the English\nStage \" as Gordon Craig has been\ndescribed over and over again, isn't a\nterror financially.\nSo a part of the legend is blown\naway.\n\no QUERY...? o\nWHEN are they going to stop cal-\nling parts 4 4 straight \" parts in\nLondon ? Any more stupid way of\nspeaking about an ordinary part is in-\nconceivable. They talk of Delysia\nplaying in 44 straight \" comedy. What\non earth is 44 straight \" comedy ?\nOf course the professional people\nuse the word, ...presumably they use\nit; but why the critics and paragraph\nwriters should farm it out to the public\nwe don't know.\n\noNOTI C E. o\nVY/ILL some kind German inform\n* * us of a late 18th Century Plan\nof Berlin which is handsome and in-\nteresting like those of Rome, London\nParis and Venice issued during these\nlast years by \" The Mask \" ?\nWe want to issue such a plan of\nBerlin the Berlin Frederick the\nGreat left behind him.\nWe can't find a good enough plan,\nand so we must appeal to some one\nin Berlin, Leipzig or Weimar to help us.\n\no THE MASK (sotto voce). o\n44 I 'HAT Theatre Arts Monthly con-\n-44 tinues to appear regularly\n44 (which is more than I do), is as\n44 elegant and interesting as ever, a\n44 charming creature. Drops occasional\n44 compliments to me so that I shall\n44 overhear them besides... what\n44 eyes... Altogether I'm not sure that\n44 I'm not madly in love with Theatre\n44 Arts Monthly.\n44 It would be like me to propose\n44 marriage and get refused.\n44 But what an enchanting little\n44 imitative creature she is, to be sure.\n44 Hmmmmm.... I think I'll go to\n44 Savile Row and order a new mor~\n44 ning coat \"."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c057", "article_bluemountain": "bmtnaau_1929-04_01#c057", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "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=bmtnaau192904-01.2.27.1", "titre_corps": "ART AND RUBBISH", "titre_sommaire": "ART AND RUBBISH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "debut_caractere": 3273, "fin_caractere_exclue": 5866, "texte": "ART AND R ÜBRISH .\nWE hate destruction; even the\nwholesale destruction, of mo-\ndern Art and Artists, is distasteful to\nus; so we mean well under this grave\ntemptation when we turn and render\none smile of affectionate respect to the\nshade of the scene-painter William\nLloyd who on February 7, 1845, in a\nsudden flare of illumination - as by\ninstinct on to the right track for a mo-\nment hurled a heavy bit of basalt\nat that idiocy of all art and craft 44 The\nPortland Vase \" as it sat there irritating\nhim in a glass case at the British Museum.\nHe was fined £ 3 and the vase was\nput together again by a drudge called\nDoubleday who contrived to hide ail the\njoins; —in over a hundred and twenty\npieces had Portland's vase fallen\nLloyd had hurled the basalt straight.\nHe knew the pot wasn't worth the\nveneration it was some day to command\nand he was right. But what vision!!!\nand what a shot.\nThis patched affair this cobbled\njar appeared at Christie's before a\nbreathless audience on May 2nd and\nin this enlightened year of nineteen\nhundred and twenty-nine 29,000 gui-\nneas was solemnly offered for these\nbits and as solemnly refused. The\nsilly vase returns to the British Mu-\nseum so we learn.\nThe thing had been guarded by\npolice and detectives on its way to\nChristie's ; great secrecy was observed ;\nno one was to know what he knew,\nand, while at Christie's it had been\ndeposited in a special and secret safe\nunknown, they say, to even Messrs\nChristie : and it was indeed with\ndifficulty that on May 2nd anyone\ncould be found who remembered really\never having seen the vase.\n44 Wot vase } \" asked the Policeman\nX of Policeman Y when the salesmen\ncame down to the vaults to take it\nupstairs for H. R. H. the Prince of\nWales to see. 44 No vase wot I knows\nof \" replied Policeman Y. to himself,\nand P. C. X. and the salesmen turned\naway lest they might overhear him.\nThere was a delay of twenty-five\nminutes while the four men tried to\nremember what it was they were all\ntalking about and finally they re-\nmembered 44 the rubbishy little thing\nover there \" and P. C. X. pointed to\nthe urn which was wrapped in a bit of\nnewspaper and on its side in the corner\nof the room behind the paper basket.\nBy this time the crowd upstairs had\nbecome restless and some rough handling\ntook place before the precious object The\nPortland Vase could be unobservantly\nconveyed from below into its case near\nMr. McKenna's elbow and hammer.\nMr. McKenna's admiration for this\nbeautiful piece was the only genuine\nenthusiasm in that room. It was its\nmoney he wanted, and he anticipated\nat least £ 100,000 we believe."}, {"page_pdf": 37, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 474, "texte": "The joy of it all is this : that,\ngiven Mr. McKenna, a one penny\npiece of the reign of George V. could\nbe made to fetch £ 20,000 or more,\nprovided Mr. McKenna could hit on\nthe right story.\nIt's the ripe old rubbish which\npeople will pay for, not the lovely fresh\nworks of arts of today's young artists.\nWell, good luck to those who have\nthe complaisance to be bamboozled\nand to refuse to admit any such thing\nas even faintly possible. Oh but how\npleasant, easy and hellish !"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c059", "article_bluemountain": "bmtnaau_1929-04_01#c059", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.2", "titre_corps": "A REALLY EXPENSIVE MAN", "titre_sommaire": "A REALLY EXPENSIVE MAN", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 476, "fin_caractere_exclue": 1401, "texte": "A REALLYTxPEmivFI\\HN.\nAT the end of 1918 David Belasco\nclosed his theatre for eight weeks\nrehearsals and spent £ 60,000 covering\nthe boxes and orchestra stalls with steel\nso that he might produce a play called\n44 Mima \" in which scenes to represent\nHell were presented.\nIt appears that Mr. Belasco tore out\nand scrapped the entire lighting system\nof the theatre and installed a new one,\nand that the 44 whole stage collapsed\nin the most terrific moment that ever\nhappened in a theatre \".\nBut there is one satisfaction about\nthis sort of thing ; it refutes that fallacy\nthat Craig's productions are terribly\nexpensive and that he demands impos-\nsible conditions. So far as we know\nhe has never spent a tenth part of such\na sum on any production.\nIrving, Reinhardt, and more of the\nproducers of plays have spent £ 10,000,\n£ 15,000, £ 25,000, and, as we see,\n£ 60,000 per piece. 44 The Miracle \"\nas done in London cost £ 80,000."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c060", "article_bluemountain": "bmtnaau_1929-04_01#c060", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.3", "titre_corps": "RETROSPECT", "titre_sommaire": "RETROSPECT", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 1403, "fin_caractere_exclue": 1848, "texte": "o RETROSPECT, o\n|N Paris lately the English Players, led\n* by Mr. Fred Stirling and Mr. Frank\nReynolds, announced the production of\nan old play in the following words :\nTonight and To-morrow at 8.45\n44 THE BELLS \"\nSir Henry Irving's Greatest Success.\nWhat is the next thing to say, we\nwonder ? It sounds sort of final, but\nwe hope not.\nIndeed, we hope that in future we\nmay read more announcements of old\ntriumphs in the very latest of reclames."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c061", "article_bluemountain": "bmtnaau_1929-04_01#c061", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.4", "titre_corps": "CINEMA HAVOC", "titre_sommaire": "CINEMA HAVOC", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 1850, "fin_caractere_exclue": 3429, "texte": "o CINEMA HA VOC. o\nMR. Justice Mackinnon on or about\nMarch 5th 1929, clearing his\nthroat, gave forth the following anathema:\n•• I HAVE ALWAYS REGARDED\nTHE CINEMA INDUSTRY AS THE\nGREATEST MENACE THAT HAS\nEVER ARISEN TO LITERATURE,\nART AND CIVILISATION\".\nWe have had the good luck to say\nthis for the last six years or longer in\n\" The Mask and presumably other\npeople have been thinking about it too,\nmay be have even said it, and are\nsaying it still; but what we would like\nto see is the Daily Paper saying it.\nBecause the Daily Paper could say\nit without offending and to the good\nof humanity.\nThe Cinema gives a joyous show\nwhen it gives us Fairbanks as D'Ar-\ntagnan ; it gives us lots of good things\nbesides and its uses are many. Our\nsole point is that to do this without\nbeing a menace to civilisation should\nbe surely possible : and this the Press\ncould long ago have made clear was\nan essential if it were to win the lasting\nsupport of others.\nAs it is IT seems a law to itself\n— supports itself and ruins the world\nwithout any thought of anyone but itself.\nThere are some things, of course,\nwhich die out if you leave them alone,\nand of course the great legislators, with\ntheir discernment, which is rarer than\nso many other rarities, can sort out\nthe things which will die if left to their\nown devices and those which need to\nbe killed off. But for our part we\nshould have thought that this was one\nof the things to kill off quickly, lest\nall the legislators, with their discern-\nment and all their mighty self-control,\nalso get nipped in the bud. Who should\nsay ? Look !"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c062", "article_bluemountain": "bmtnaau_1929-04_01#c062", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.5", "titre_corps": "METEORITE HAVOC : 11,000 SQUARE MILES DEVASTATED", "titre_sommaire": "METEORITE HAVOC : 11,000 SQUARE MILES DEVASTATED", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 3431, "fin_caractere_exclue": 4097, "texte": "METEORITE HAVOC.\n11.000 SQUARE MILES\no DE 5 7,4 rEP . o\nA huge meteorite fell in Siberia\n* * in about the year 1908 and re-\ncently a certain Professor Kulik went\nout to see what damage had been done.\nHe discovered that a portion of the\nearth equal to the size of Belgium had\nbeen flattened out and was dead, so\nthat it really does not matter a two-\npenny piece whether the cinema goes\non or doesn't.\nWhile there is something over which\neven legislators can have no control,\nnor newspapers, nor nobody, it is pro-\nbably as well to look on the Cinema\nas a very little nothing and to allow\nthis more or less non-existent thing its\nfull liberty. #Ban, 'Ban, Cacaliban..."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c063", "article_bluemountain": "bmtnaau_1929-04_01#c063", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.6", "titre_corps": "LEGEND BLOWN AWAY", "titre_sommaire": "LEGEND BLOWN AWAY", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 4099, "fin_caractere_exclue": 4653, "texte": "LEGEND '^OW^AWAY.\nHEY may not know how to make\nShakespeare plus Craig pay in\nLondon: that's their trouble. In\nAmerica they seem to have the swing.\n£ 5000 and more is being taken\nper week by Mr. Tyler with Shake-\nspeare's 44 Macbeth designment by\nGordon Craig.\n44 Macbeth is being toured round\nAmerica alone — no repertory — one\nplay alone — a tragedy — a great\none.... and the draw is Craig.\nSo 44 the terror of the English\nStage \" as Gordon Craig has been\ndescribed over and over again, isn't a\nterror financially.\nSo a part of the legend is blown\naway."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c064", "article_bluemountain": "bmtnaau_1929-04_01#c064", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.7", "titre_corps": "QUERY...?", "titre_sommaire": "QUERY...?", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 4655, "fin_caractere_exclue": 5079, "texte": "o QUERY...? o\nWHEN are they going to stop cal-\nling parts 4 4 straight \" parts in\nLondon ? Any more stupid way of\nspeaking about an ordinary part is in-\nconceivable. They talk of Delysia\nplaying in 44 straight \" comedy. What\non earth is 44 straight \" comedy ?\nOf course the professional people\nuse the word, ...presumably they use\nit; but why the critics and paragraph\nwriters should farm it out to the public\nwe don't know."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c065", "article_bluemountain": "bmtnaau_1929-04_01#c065", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.8", "titre_corps": "NOTICE", "titre_sommaire": "NOTICE", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 5081, "fin_caractere_exclue": 5494, "texte": "oNOTI C E. o\nVY/ILL some kind German inform\n* * us of a late 18th Century Plan\nof Berlin which is handsome and in-\nteresting like those of Rome, London\nParis and Venice issued during these\nlast years by \" The Mask \" ?\nWe want to issue such a plan of\nBerlin the Berlin Frederick the\nGreat left behind him.\nWe can't find a good enough plan,\nand so we must appeal to some one\nin Berlin, Leipzig or Weimar to help us."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c066", "article_bluemountain": "bmtnaau_1929-04_01#c066", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192904-01.2.27.9", "titre_corps": "THE MASK (sotto voce)", "titre_sommaire": "THE MASK (sotto voce)", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "debut_caractere": 5496, "fin_caractere_exclue": 6089, "texte": "o THE MASK (sotto voce). o\n44 I 'HAT Theatre Arts Monthly con-\n-44 tinues to appear regularly\n44 (which is more than I do), is as\n44 elegant and interesting as ever, a\n44 charming creature. Drops occasional\n44 compliments to me so that I shall\n44 overhear them besides... what\n44 eyes... Altogether I'm not sure that\n44 I'm not madly in love with Theatre\n44 Arts Monthly.\n44 It would be like me to propose\n44 marriage and get refused.\n44 But what an enchanting little\n44 imitative creature she is, to be sure.\n44 Hmmmmm.... I think I'll go to\n44 Savile Row and order a new mor~\n44 ning coat \"."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c067", "article_bluemountain": "bmtnaau_1929-04_01#c067", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192904-01.2.28", "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": 38, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 8487, "texte": "LAST WORDS.\n\nON TALKING SHOP.\nMarcel de Tours.\n()NE of the foremost younger actresses of\ntoday, Miss Marda Vanne, lingering for\na while on the amusing thought of how stu-\npid members of the public might and do find\nit to listen to people talking shop, took up the\nnotion and in a paper patted around a bit\nwith some fistified phrases many of which\ntold heavily.\nI read the article and fell flat.\nFor I had always held that it was the\ndullest of dull things to hear shop talked.\nBut shop to a lady of intelligence doesn't\nmean what you and I mean. We mean du-\ncats she meant mischief.\nShe would listen to some shop-talk twixt\nReinhardt and Craig : she pulled both their\nlegs in saying so and both artists I have\nbeen told wrote to her at once so as to show\noff their powers in the way of small talk of\nthe Theatre.\nCraig's letter was, I am told, all figures ;\nReinhardt*s theoretical and emotional.\nAs a matter of fact in England artists,\nwhen they meet, rarely talk shop they\ntalk about the weather and the things they've\njust seen or heard of, and are as chatty as\nany 44 Beachcomber \", only the chat is not\nhalf as intelligent.\nDid they in the 16th century, I wonder,\ntalk better and talk more shop } I dare say\nthey didn't but they could have done:\nbut so far as I can find out no artist in those\ndays had any time to devote to talking : he\nwas there to work, not to enjoy himself at\nthe world's expense. The world became dis-\nsatisfied with things and stopped his pay and\nfinally gave him his liberty, and that has led\nto the lovely amount of talk that he has put\nover on to the silly creature.\nI was talking to a gardener the other day\nand couldn't get a darned word out of him :\ngardeners haven't had their job taken from\nthem so they can't enjoy a good talk.\nCabmen can talk, but the horse can't\nand for the same reason. Chauffeurs can talk\nbut they don't enjoy it; it's part and parcel\nof their dangerous work ; they keep up a run-\nning fire of brilliantisms all the time even as\nthey run you into the Loire and out again.\nIt's like the whirl of the wheels and the\naction of the cylinders a bit of the ma-\nchinery.\nConsider too, they talk and act dan-\ngerously, these men, and land you safe and\nsound at your destination. If they took care,\ntalked with care and behaved carefully, you'd\nbe dead in five minutes. Did that ever occur\nto you ?\nBut now I'm talking shop for I,\n...I'm a chauffeur,\n\nTHE COMMON TOUCH.\nPROGRAMMES & HANDBILLS\nJ.B.\nPASSING through Paris, London and Berlin,\nI collected a handful of theatrical announce-\nments or programmes of each town, and on\ngetting home and laying these out along the\nfront of a sofa one thing prominently asser-\nted itself.\nThis is, the commonness of the English\nadvertisements, the good taste of the German\nones, and the brightness of the French.\nTaken all in all, the French are the best.\nThe English are far and away 'the worst,\nthe touch all over the thing is a common one.\nIf a semi-nude girl is drawn on a French\nprogramme it is a pretty little thing ; on the\nEnglish it simply becomes thirty times com-\nmoner than the commonest chorus girl in one\nof the cheapest theatres.\nTake, for example, a thing called the Stoll\nHerald, a thing of eight pages telling us about\nRose-Marie, Clearing the Decks, Harold Lloyd\nand other Stoll attractions.\nA jumping bar-maid drawn on the front\npage is about the cheapest piece of colour-\nprinting that you could find. I don't mean\nthat it cost little, for it probably cost eight\ntimes what Mr. Bati's coloured cover did. His,\nfor the Theatre de I'Avenue, is attractive be-\ncause the design is by Holy. The programme\ncost Frs. 2.50.\nAgain, the Victoria Palace, of which the\nmanaging directors are Sir Alfred Butt and\nMr. R. H. Gillespie, announcing the perfor-\nmances of Owen Nares and Ella Retford\nand the Victoria girls, (trained by the way,\nby Mrs. Rodney Hudson) ; that too is a cheap\nbit of goods. It shows a grinning girl in a\ncommonplace costume with the usual com-\nmonplace ribbons all over and she is pointing\nto Heaven with the finger. She is supposed\nto represent something English and the colour\nprinting is supposed to represent something first\nclass in craftsmanship. It looks a costly piece\nof work, but that is all.\nNext comes the London Coliseum card in\ncolour, which certainly might be worse. That\nis the very best that can be said about it.\nAfter that, a postcard advertising \" Plun-\nder \"* and one advertising Hicks and his wife\nat the Lyceum. The last shows us two char-\nming portraits and for this reason is quite\nright, but the 44 Plunder \" could again hardly\nbe worse.\nIt is not a question of not employing ar-\ntists to do it, because there is such a marked\nantipathy to art and artists that it stands to\nreason that none could be ever employed to\ndo those things in England. All I would\nhumbly ask is this : how the dickens do they\nsuppose any decent printing can be done\nany decent reclame at all unless artists are\nemployed ? And whatever the answer is, and\nit is sure to be a silly one, the fact remains\nthat, if other nations can do it, the English\ntheatrical firms which don't do it are really\nbehind the times in their passion for the over\ndisplay of an old if particular kind of ignorance.\nCertainly in Paris the \" Theatre du Moulin\nBleu \" provided a fearful design in awful co-\nlours to decorate its programmes, price 2 francs,\nand the Cirque d' Hiver colour programme\ncoyer is rubbish. The Fratellini brothers are\nartists so I hope they see this note and ask\nM. G. Desprez their Directeur General what\nthe devil he means by it. Paris is swarming\nwith brilliant young artists willing to make\nthe Fratellini a design for 500 francs, and\nwhy less, since a first-class design will bring\ninto the house at least 50,000 francs worth\nof people who would keep out of it because\nof the rotten design now being used.\nThe prices of these French programmes is\nworth a moment's attention.\nCirque d'Hiver, full of advertisements, 1.50 fr.\nTheatre du Moulin Bleu \" 2.00 fr.\nFolies Bergeres \" 3.00 frs.\nTheatre de l'Avenue \" 2.50 frs.\nIf a programme is to cost the public any-\nthing it should be at any rate a decent offe-\nring for the 6d. paid.\nThe idea of packing it with advertisements\nwhich have no connection with the show or the\nDrama is of course to help the public •\n44 the public want it \".\nAll talk. The public don't want it.\n\nTALKIES\nPEOPLE are beginning to argue hotly over\nthe Talkies.\nThese same Talkies have but begun to\nrumble: afar off this immense vulgarity has\nuttered a gurgle and given birth to its first\nhiccough.\nInstantly dandies have leapt forward ex-\nplaining it to the multitude through the co-\nlumns of the classy journals. Ihe hiccough has\nstyle, we are told; 'tis a good hiccough—they\nwish us well of the hiccough, and so on.\nBut, dearly beloved blackguards, it was\na hiccough, wasn't it, so admit it.\nBut it's a trifle to what is to come.\nSilent, the Film had but terrible eyes\nand claws with which to terrify us : but now\nit can play with the vowels, think of what a\nbutcher's bill there'll be for us to pay.\n\nNOT AS OTHER MEN.\nPoems. By JOHN DRINKWATER.\nSelected by the Author for the\nTauchnitz Edition. IV.-4853.\nThis selection from the works of one\nof the most eminent of modern English\npoets has been made by John Drinkwater\nespecially for the Tauchnitz Edition, in\nwhich his name appears for the first time.\nAverse to mysticism and decadence, he\nstands for all that is sane and pure on this\nearth, for which he is imbued with deep >\nlove and reverence. It has been said of J\nhim, that he lives in our times without!\nbeing of them.\n[ HIS is a facsimile, (save for the under-\nlining which is mine), of one of the announ-\ncements found on the covers of Tauchnitz\nvolumes.\nThe particular volume on which it happen-\ned so unfortunately to alight was that sane\nwork by Mr. PG. Wodehouse entitled 44 Meet\nMr. Mulliner \". I do not know a work of\npurer fun, nor one imbued with deeper love\nand reverence for this earth. Yet Mr. Wode-\nhouse, one presumes, is of our times as well\nas living in them.\nI would give much to know for certain\nwho penned the above tribute to Drink water's\nsanity, purity, deep love and reverence.\nFor concentrated affectation it is a long\ntime since 1 have read anything as priggish\nas this.\nSo Drinkwater, while forced by circum-\nstances to live in the same epoch as Hous-\nman, lE, Beerbohm, Kipling, Barrie, Gals-\nworthy, Bennett, W. B. Yeats, Mason and\nthe rest, is not of them is not as one of\nthese.\nCan you beat it ?"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c068", "article_bluemountain": "bmtnaau_1929-04_01#c068", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192904-01.2.28.1", "titre_corps": "ON TALKING SHOP", "titre_sommaire": "ON TALKING SHOP", "signature_source": "Marcel de Tours", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "debut_caractere": 13, "fin_caractere_exclue": 2400, "texte": "ON TALKING SHOP.\nMarcel de Tours.\n()NE of the foremost younger actresses of\ntoday, Miss Marda Vanne, lingering for\na while on the amusing thought of how stu-\npid members of the public might and do find\nit to listen to people talking shop, took up the\nnotion and in a paper patted around a bit\nwith some fistified phrases many of which\ntold heavily.\nI read the article and fell flat.\nFor I had always held that it was the\ndullest of dull things to hear shop talked.\nBut shop to a lady of intelligence doesn't\nmean what you and I mean. We mean du-\ncats she meant mischief.\nShe would listen to some shop-talk twixt\nReinhardt and Craig : she pulled both their\nlegs in saying so and both artists I have\nbeen told wrote to her at once so as to show\noff their powers in the way of small talk of\nthe Theatre.\nCraig's letter was, I am told, all figures ;\nReinhardt*s theoretical and emotional.\nAs a matter of fact in England artists,\nwhen they meet, rarely talk shop they\ntalk about the weather and the things they've\njust seen or heard of, and are as chatty as\nany 44 Beachcomber \", only the chat is not\nhalf as intelligent.\nDid they in the 16th century, I wonder,\ntalk better and talk more shop } I dare say\nthey didn't but they could have done:\nbut so far as I can find out no artist in those\ndays had any time to devote to talking : he\nwas there to work, not to enjoy himself at\nthe world's expense. The world became dis-\nsatisfied with things and stopped his pay and\nfinally gave him his liberty, and that has led\nto the lovely amount of talk that he has put\nover on to the silly creature.\nI was talking to a gardener the other day\nand couldn't get a darned word out of him :\ngardeners haven't had their job taken from\nthem so they can't enjoy a good talk.\nCabmen can talk, but the horse can't\nand for the same reason. Chauffeurs can talk\nbut they don't enjoy it; it's part and parcel\nof their dangerous work ; they keep up a run-\nning fire of brilliantisms all the time even as\nthey run you into the Loire and out again.\nIt's like the whirl of the wheels and the\naction of the cylinders a bit of the ma-\nchinery.\nConsider too, they talk and act dan-\ngerously, these men, and land you safe and\nsound at your destination. If they took care,\ntalked with care and behaved carefully, you'd\nbe dead in five minutes. Did that ever occur\nto you ?\nBut now I'm talking shop for I,\n...I'm a chauffeur,"}]}, {"article_id": "bm-bmtnaau-1929-04-01-c070", "article_bluemountain": "bmtnaau_1929-04_01#c070", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192904-01.2.28.2", "titre_corps": "THE COMMON TOUCH : PROGRAMMES & HANDBILLS", "titre_sommaire": "THE COMMON TOUCH : PROGRAMMES & HANDBILLS", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "debut_caractere": 2402, "fin_caractere_exclue": 6346, "texte": "THE COMMON TOUCH.\nPROGRAMMES & HANDBILLS\nJ.B.\nPASSING through Paris, London and Berlin,\nI collected a handful of theatrical announce-\nments or programmes of each town, and on\ngetting home and laying these out along the\nfront of a sofa one thing prominently asser-\nted itself.\nThis is, the commonness of the English\nadvertisements, the good taste of the German\nones, and the brightness of the French.\nTaken all in all, the French are the best.\nThe English are far and away 'the worst,\nthe touch all over the thing is a common one.\nIf a semi-nude girl is drawn on a French\nprogramme it is a pretty little thing ; on the\nEnglish it simply becomes thirty times com-\nmoner than the commonest chorus girl in one\nof the cheapest theatres.\nTake, for example, a thing called the Stoll\nHerald, a thing of eight pages telling us about\nRose-Marie, Clearing the Decks, Harold Lloyd\nand other Stoll attractions.\nA jumping bar-maid drawn on the front\npage is about the cheapest piece of colour-\nprinting that you could find. I don't mean\nthat it cost little, for it probably cost eight\ntimes what Mr. Bati's coloured cover did. His,\nfor the Theatre de I'Avenue, is attractive be-\ncause the design is by Holy. The programme\ncost Frs. 2.50.\nAgain, the Victoria Palace, of which the\nmanaging directors are Sir Alfred Butt and\nMr. R. H. Gillespie, announcing the perfor-\nmances of Owen Nares and Ella Retford\nand the Victoria girls, (trained by the way,\nby Mrs. Rodney Hudson) ; that too is a cheap\nbit of goods. It shows a grinning girl in a\ncommonplace costume with the usual com-\nmonplace ribbons all over and she is pointing\nto Heaven with the finger. She is supposed\nto represent something English and the colour\nprinting is supposed to represent something first\nclass in craftsmanship. It looks a costly piece\nof work, but that is all.\nNext comes the London Coliseum card in\ncolour, which certainly might be worse. That\nis the very best that can be said about it.\nAfter that, a postcard advertising \" Plun-\nder \"* and one advertising Hicks and his wife\nat the Lyceum. The last shows us two char-\nming portraits and for this reason is quite\nright, but the 44 Plunder \" could again hardly\nbe worse.\nIt is not a question of not employing ar-\ntists to do it, because there is such a marked\nantipathy to art and artists that it stands to\nreason that none could be ever employed to\ndo those things in England. All I would\nhumbly ask is this : how the dickens do they\nsuppose any decent printing can be done\nany decent reclame at all unless artists are\nemployed ? And whatever the answer is, and\nit is sure to be a silly one, the fact remains\nthat, if other nations can do it, the English\ntheatrical firms which don't do it are really\nbehind the times in their passion for the over\ndisplay of an old if particular kind of ignorance.\nCertainly in Paris the \" Theatre du Moulin\nBleu \" provided a fearful design in awful co-\nlours to decorate its programmes, price 2 francs,\nand the Cirque d' Hiver colour programme\ncoyer is rubbish. The Fratellini brothers are\nartists so I hope they see this note and ask\nM. G. Desprez their Directeur General what\nthe devil he means by it. Paris is swarming\nwith brilliant young artists willing to make\nthe Fratellini a design for 500 francs, and\nwhy less, since a first-class design will bring\ninto the house at least 50,000 francs worth\nof people who would keep out of it because\nof the rotten design now being used.\nThe prices of these French programmes is\nworth a moment's attention.\nCirque d'Hiver, full of advertisements, 1.50 fr.\nTheatre du Moulin Bleu \" 2.00 fr.\nFolies Bergeres \" 3.00 frs.\nTheatre de l'Avenue \" 2.50 frs.\nIf a programme is to cost the public any-\nthing it should be at any rate a decent offe-\nring for the 6d. paid.\nThe idea of packing it with advertisements\nwhich have no connection with the show or the\nDrama is of course to help the public •\n44 the public want it \".\nAll talk. The public don't want it."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c072", "article_bluemountain": "bmtnaau_1929-04_01#c072", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192904-01.2.28.3", "titre_corps": "TALKIES", "titre_sommaire": "TALKIES", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "debut_caractere": 6348, "fin_caractere_exclue": 7051, "texte": "TALKIES\nPEOPLE are beginning to argue hotly over\nthe Talkies.\nThese same Talkies have but begun to\nrumble: afar off this immense vulgarity has\nuttered a gurgle and given birth to its first\nhiccough.\nInstantly dandies have leapt forward ex-\nplaining it to the multitude through the co-\nlumns of the classy journals. Ihe hiccough has\nstyle, we are told; 'tis a good hiccough—they\nwish us well of the hiccough, and so on.\nBut, dearly beloved blackguards, it was\na hiccough, wasn't it, so admit it.\nBut it's a trifle to what is to come.\nSilent, the Film had but terrible eyes\nand claws with which to terrify us : but now\nit can play with the vowels, think of what a\nbutcher's bill there'll be for us to pay."}]}, {"article_id": "bm-bmtnaau-1929-04-01-c074", "article_bluemountain": "bmtnaau_1929-04_01#c074", "volume": "bmtnaau_1929-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192904-01.2.28.4", "titre_corps": "NOT AS OTHER MEN", "titre_sommaire": "NOT AS OTHER MEN", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "debut_caractere": 7053, "fin_caractere_exclue": 8487, "texte": "NOT AS OTHER MEN.\nPoems. By JOHN DRINKWATER.\nSelected by the Author for the\nTauchnitz Edition. IV.-4853.\nThis selection from the works of one\nof the most eminent of modern English\npoets has been made by John Drinkwater\nespecially for the Tauchnitz Edition, in\nwhich his name appears for the first time.\nAverse to mysticism and decadence, he\nstands for all that is sane and pure on this\nearth, for which he is imbued with deep >\nlove and reverence. It has been said of J\nhim, that he lives in our times without!\nbeing of them.\n[ HIS is a facsimile, (save for the under-\nlining which is mine), of one of the announ-\ncements found on the covers of Tauchnitz\nvolumes.\nThe particular volume on which it happen-\ned so unfortunately to alight was that sane\nwork by Mr. PG. Wodehouse entitled 44 Meet\nMr. Mulliner \". I do not know a work of\npurer fun, nor one imbued with deeper love\nand reverence for this earth. Yet Mr. Wode-\nhouse, one presumes, is of our times as well\nas living in them.\nI would give much to know for certain\nwho penned the above tribute to Drink water's\nsanity, purity, deep love and reverence.\nFor concentrated affectation it is a long\ntime since 1 have read anything as priggish\nas this.\nSo Drinkwater, while forced by circum-\nstances to live in the same epoch as Hous-\nman, lE, Beerbohm, Kipling, Barrie, Gals-\nworthy, Bennett, W. B. Yeats, Mason and\nthe rest, is not of them is not as one of\nthese.\nCan you beat it ?"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.1", "texte": "THE MASK\nVOLUME FIFTEEN. NUMBER TWO\nAPRIL-MAY-JUNE\n19 2 9\nANNUAL SUBSCRIPTION D E LUXE EDITION\nTEN SHILLINGS TWENTY SHILLINGS\n(post FREE) (post free)\n° JT °\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 44 4. FLORENCE. ITALY.\n\nA LETTER ON RECENT TRAVELS\nTHROUGH EUROPE by Gordon Craig.\nSIR GERALD DU MAURIER: An Appre-\nciation, by Drury Pervil.\nj\\ /ILLE. RACHEL AND HER POSSES-\nI VISIONS, being a Translation of the Cata-\nlogue of the sale held after her death, (Part 1)\nwith a Foreword by X. Y. Z.\nAN INTERVIEW WITH GORDON\nCRAIG on recent Proposals made him in\nLondon by an unreliable Manager whose name\nhe forgets ;by Lois Lincoln.\nTHE NATURAL HISTORY OF THE\nBALLET-GIRL, as studied in 1847, by\nAlbert Richard Smith (1816-1860).\nNOTES ON THE AMPHITHEATRE OF\nARLES; THE \" BALLI TEATRALI \"\nOF LAMBRANZI; ON \" WASTE \", MA-\nRIONNETTES, BRINGING THE SO-CAL-\nLED BRITISH STAGE TO ITS SENSES,\nDESIGN IN THE THEATRE; ON MILORD\nBYRON, MR. HAROLD NICOLSON, AND\nMR. P. G. WODEHOUSE, BROUGHT\nTOGETHER; and many other matters.\n\nILLUSTRATIONS\nA DESIGN FROM THE \" BALLI TEATRALI\" OF LAMBRANZI. TWO\nDESIGNS SHOWING THE THEATRE OF ARLES, IN ITS ORIGINAL STATE\nAND AS SEEN IN 1666 BY M. JACQUES PEYTRET. THE BALLET-GIRL\nIN MANY SCENES OF HER DAILY AND NIGHTLY LIFE BY HENNING,\nGAVARNI AND GILBERT."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.2", "texte": "THE MASK. APRIL-JUNE 1929\nNOTICE TO CONTRIBUTORS. 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\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.\nDURABILITY\nA LETTER ON RECENT TRAVELS THROUGH EU-\nROPE .........\nSIR GERALD DU MAURIER, An Appreciation . .\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS ........\nDESIGN IN THE THEATRE\nMARIONNETTES AND THE ENGLISH PRESS . .\nTHE BALLET-GIRL . . . . . . .\nWASTE, being some Observations of a Rambler . . .\nBRINGING THE SO-CALLED STAGE TO ITS SENSES.\nTHE CAMBRIDGE SHAKESPEARE . . . .\nON CREATING AND DESTROYING, and Lambranzi and\nhis Book of Dances . . . . . .\nTHE AMPHITHEATRE AT ARLES ....\nWHAT ABOUT IT ? An Interview with Gordon Craig .\nJ. S page 41\nGordon Craig . . . . .43\nDrury Pervil 45\nTranslated by D. N. L., with a Fore-\nword by X. Y. Z. . . . 48\nGordon Craig 57\nC. G. E 60\nAlbert Richard Smith 1847. . .61\nAnon. . . . . . .72\nJohn Furse 73\nD. P .74\nJ. S. . . . . . .75\nJ. S 76\nLois Lincoln . . . . .77\nGRAMOPHONISM. CORRESPONDENCE. BOOK REVIEWS. EDITORIAL NOTES. LAST WORDS.\n\nILLUSTRATIONS.\nA DESIGN from the \" Nuova e Curiosa Scuola di Balli Tea-\n.\ntrali Lambranzi . . . Plate 4. Face 41\nTHE AMPHITHEATRE OF ARLES in its original State. Jacques Peytret . . ■ 5. ■ 76\nTHE AMPHITHEATRE OF ARLES as in 1666 . . » » . . \" 6. Precede 77\nTHE BALLET GIRL. Many scenes from her Life . . Henning, Gavarni & Gilbert Pages 61-71\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[40]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.4", "texte": "FROM LAMBRANZI'S BALLI TEA TRALI 1716.\nSee page 75.\nPlate 4.\n\nTHE MASK\n1929"}, {"page_pdf": 5, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.5", "texte": "19 0 8 19 2 9\n\nDURABILITY\nHERE TODAY AND GONE TONIGHT\n\nAS I glance through the pages of this number of \" The Mask \"\nI am reminded of the transience of things.\nAnd of Theatre things in particular, and they seem as\nthough they were never-green.\nActors, dancers, plays, are here today and gone tonight, not\neven waiting till tomorrow gone, leaving behind them catalogues\nof sales, ...some laces, some wines, some fancy dresses... records of a\nmomentary hesitation, as if uncertain why they were here, and they\nare gone before we are made certain.\nWe admit to a sense of anger at the thought deeper than impa-\ntience. Futile, of course, but that anger which the poet felt when he\nfirst took the full measure of life and death and determined to create\ndeathless things.\nFor something which carries on for six hundred to a thousand\nyears almost satisfies us that it is deathless. Yes, a thousand years\nare something bravo poet! you can really be said to have put it over.\nWe suppose \" there is nothing to put in the field which can\nbear comparison with...\" what was that immortal stupidity uttered by\nWilliam Archer at the close of the war when excusing England for\nnot having equipt and placed her best theatre men in a group facing\nReinhardt and his well equipt people ?"}, {"page_pdf": 6, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.6", "texte": "We are to suppose, then, our Theatre can t be permanent, can t\nleave something to live for a thousand years.\nAre we to suppose that when we know it to be untrue ?\n\" What can you leave which shall live so long ? ' you ask.\n\" Are you merely curious ? \" we ask.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.7", "texte": "A LETTER\nON RECENT TRAVELS\nTHROUGH EUROPE\nBY GORDON CRAIG.\nDEAR SEMAR.\nIn these last moments people call\nthem months sometimes all sort of\nabsurd things, and delightful things and\npeople, lovely things and people, have I\nseen and heard, and it's when the full\ntide comes on that I have at times written\nto you. In 1908... wasn't it?.. I wrote\nyou of Miinchen and Moscow and\nEngland.\nThese last months I have been in\nParis, in Berlin, Weimar and London.\nAdd to these Heidelberg, Mannheim,\nBoulogne-sur-Mer, Karlsruhe, Lyon, and\nCormery and a place called Schwezingen.\nI went to all these places quite alone,\nbut in every place I met friends and\nstrangers, and one quite strange sort of\nbeing of whom I may tell you something\nor no if the light permits.\nIt was when listening to the immortal\nsong \" C'est vous \" that I met the strange\nbeing in one of those ultra modern pla-\nces in Paris ...but it would take ages to\ntell you the story and so we will come to\nthat next quarter, not now.—\nIn Mannheim I bought one interest-\ning book on the Theatre published in the\nearly part of the 19th century, wherein\na \" producer \" of that day had described,\nstep by step, how to produce an opera ;\nhe manages to fill some two hundred pa-\nges describing how it is to be done.\nThe book is the only remembrance I\nhave of this place ...excepting a very bright\nhalf-hour in the museum when Miss Stoll,\nthe assistant of the director of the archives,\ntold me many an interesting thing about\nthe old Theatres of the place.\nI then went on to Paris ; there I met\nwith another curious figure ...a certain Eng-\nlishman who styles himself the Comte\nd'Angleterre.\n1 could write a history of this man,\nbut I doubt whether 1 shall have the time.\nAn austere being devoting his time,\nstrength and money to others, he passes\nalmost unnoticed amongst those celebrities\nin Paris who are said to be somebodies.\nIn Paris too I came across that re-\nmarkable theatrical genius M. Diageliev.\nI have never seen anyone look older than\nhe can look at 12 o'clock midday and\nthen at 8 o'clock the same evening look\nand be the youngest man in the city. He\ninvited me to his box at the Opera House\nto see four of his ballets ....four on the\nsame evening..! I almost think that four\nis two too many.\nA most enjoyable hour and a half I\nspent following the two first ballets,\n\" L'Oiseau- de Feu \" and \" Apollo \",\nboth composed by Stravinski. I for my\npart preferred the \"Apollo \" to the other.\nI can imagine no more delicate piece\nof work than the arrangement of the\ndifferent sections of this second ballet, this\n\" Apollo \".\nEverything conspires in it to cheat\nus but ail is done openly and beauti-\nfully.\nThe arrangement of this Ballet was\nby Georges Balanchine, a man of a\nfine creative talent. The dancers were\nSerge Lifar and the three ladies, Danilova,\nTchernichera and Doubrovska, and all\nfour enchanted me.\nThere was only one fault in this ballet\nand this one fault is the unwillingness or\ninability of the arranger to make his ballet\nin one piece. It was broken up into ten\nor twenty or thirty sections. Nature in\nthis respect does better than he. Clouds\nseas rain storms - sciroccos —»"}, {"page_pdf": 8, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.8", "texte": "always proceed without a break; no\nmatter what the contrasts or what the\nharmonies, in nature all goes on from its\nstart to the conclusion of its performance;\nthere is no break, there are no jerks no\ngoings forward only to go back —no\ngoings round all advances and always.\nAnd when I came to London and\nvisited the Exhibition of Dutch Art and\nstood before the mighty landscape\n(No. 227) by Philip Koninck I realized\nthat great painting also proceeds from start\nto end in a single unbroken series of\nadvancing waves. It may take hours for\nthe spectator to follow these ; it does in\nKoninck's landscape ; but the rhythm never\nsuddenly breaks not once.\nI thought this the most wonderful\npainting of all the 921 items of the show.\nIt's manner is the grandest manner of\nShakespeare or Bach and this explains\nwhy hardly anyone stopped to look at it,\nand there must have been some 1300\npeople at Burlington House on the day I\nwent in.\nThe Catalogue, which honours some\nof the artists by a word or two of mention,\ndoes not stop to speak of Koninck. He\nwas born in 1616 and died in 1689.\nThe success of M. Diageliev's Paris\nperformances was greater than ever ...and\nindeed this is not hard to understand, for\nit is today the best ballet in the world,\nand never was the troupe stronger nor\nthe inventions of M. Diageliev more\nhappy.\nMy only reason for not waiting to\nsee the whole four ballets is that I had\nhad enough. I didn't want to forget the\nloveliness of \" Apollo \".\nI sometimes wonder why it is that\nthe spectators are not given two ballets\nand then asked to say which of the two\nthey would like repeated. I would have\ncalled for \" Apollo \".\nIn Berlin there was a production I\nwould willingly have seen twice over\n...the German version of \" The Beggars'\nOpera\", but I fell ill and could not.\nIn Berlin I nearly died. None of my\nfriends knew of this at the time and so\nit does not matter.\nIn London I saw \" Journey's End \"\nat the Savoy Theatre; ...a money making\npiece well done by actors.\nIn London I heard of five people\neach of whom is going to \" save the British\nstage\". One is a rather lame copy of\nIrving's less intelligent son ; another is a\nhairdresser ; a third drops his Hs and\nso on.\nMy one disappointment was on disco-\nvering that at the Ambassadors Theatre\nthe brilliant young actress Miss Marda\nVanne was out of the cast.\nI had long promised myself I would\nsee her work.\nWhile the flimsyest excuse is for me\nexcuse galore for mentioning Miss Marda\nVanne, I shall have a very grave reason\nfor doing so soon and shall come to that\nin the next but one issue of \" The Mask\nFor I shall then prophesy !\nAs I have always been labelled a\nprophet I intend to prophesy with care.\nI shall prophesy that if Miss Marda Vanne\nreturns to act in England she will be seen\nas and I will even prophesy that she\nwill do it better than did Sarah Siddons\nor Sarah Bernhardt.\nI shall name the part in the next but\none number.\nNow who any longer says I am a\nprophet ? ...for what prophet risks all on\na single cautious throw like this. Call\nme a gambler in future.\nI have also discovered a \" Hamlet \"\n...a man fitted to play it] surprisingly well\n...an Englishman, and one who never\ndreamed it possible, does not now dream."}, {"page_pdf": 9, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.9", "texte": "it, for I've not yet told him he was born\nto play it and better than John Kemble.\nIn Paris, by the way, I met one of\nthe Footes a descendant of the great\ncomedian of the 18th century Samuel\nFoote. We lunched together at the Cafe\nde la Paix and he showed me a snuff box\nwhich came down to him from his great\ngrandfather.\nIn Paris I was reminded of that line\n... is it by Dryden or by Pope ?... \"\nmen to business, some\nand indeed no where else can the two\nstreams of serious and playful men be so\nclearly defined nor more markedly\ndivided.\nIf anything your Parisian is more so-\nlemn than he was, and more charming.\n\nFIVE WORDS ABOUT THE THEATRE\nJames Huneker.\nThe theatre is a mirror of life. Sophocles.\nThe stage is a grand and serious thing. It has a\nnational mission, a social mission, a human mission.\nVictor Hugo.\nThe ohject of the theatre is not to teach us what this\nor that particular person has done, but what every person\nor certain character under certain circumstances would do.\nLessing.\nThe theatre is called the people's school. It teaches\nus to feel and to think. Maxim Gorky.\n\" Why is it that millions, are spent on pictures, libra-\nTies, orchestras, churches, but not one cent for the theatre? \"\n\nSIR GERALD DU MAURIER\nAN APPRECIATION\nBY DRURY PERVIL.\n\\\\/ HAT a mood I am in tonight to\nV ™ write an appreciation even I\nand who is more fitted to write the\npraises of people and things he has known\nto be good than one who, spite of all\nother failings, never has failed yet to ap-\npreciate almost all things.\nYet it is not my appreciation of Sir\nGerald du Maurier that I may put into\nwords, for I have but seen him four times\nin rny life. First coming down a passage\ncalling out \" Why that can only be Drury\nPervil and most kindly shaking my hand.\nAn old man now, 1 perhaps note with\ntoo much sentimentality that my hand is\nstill shaking a little at the remembrance,\nand this is a pity since 1 write my\nown bits with my hand and have not\nused a typewriting machine in my life.\nThe last time I saw du Maurier was\nat a funeral of an old unknown lady he\nhad known, and he came there, as indeed\nI, because we had both rather loved her.\nI was sent to report, but I should have\ngone anyhow. I say she was unknown\nbut I exaggerate a little ; she had been\nknown had been what is called famous,\nand indeed many filled the little church at\nDoveside, a hamlet on the Wyvil, to see\na famous person laid to rest. Few even\non that summer's day exactly remembered\nher—but they recalled her fame. Today\nhardly a soul remembers that either. I\nhave a curious proof of this which is\nneither here nor there. But to see du\nMaurier there was touching ; ...to hear his\nvoice, to recall today what it was he said:\nhe spoke more forcibly than I had deemed\npossible in such a gentle nature. What\nhe said does not concern anyone but me\nand a very few members of the profession"}, {"page_pdf": 10, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.10", "texte": "of which Sir Gerald du Maurier is in a\ncertain sense the head.\nAnd so I have but scant matter from\nwhich to make up any tale about du\nMaurier worth hearing ; and I had best\nadmit without more ado that it is another's\nappreciation 1 am concerned with and\nwould like to speak of.\nThe writer of this \" appreciation\nis Augustus Muir, and many thousands\nof people will have read it for it appeared\nin a recent number of London's most po-\npular monthly magazine.\nA charming sketch it is and illustrated\nwell; I now see his lovely old house in\nHampstead for the first time, and the\npretty place he owns at Ferrybridge near\nFowey down in Cornwall.\nIn this appreciation I get a perfectly\ndirect picture of a very simple man who,\nwe are given to understand, hides himself\nunder very elaborately devised manners\nwhich only a very versatile actor could\ninvent.\nDu Maurier, more sensitive than most\nartists when he grows serious, is indeed\ncharming ; then he will stop to say that\nit \" must be wonderful to understand the\nfeelings of birds and animals \" and then,\nstopping, says no more gives no hint as\nto what it is we miss ; and there he\ncommits no blunder.\nI was once bitten by a parrot : a\ndear old lady I know, lay dangerously ill\nfor nearly three months having been bitten\nby a dog: so that probably du Maurier\nand I have different ideas about the thoughts\nand feelings of animals and birds and\nI envy him should he be able to nurse\npleasant illusions about them.\nMr. Muir's sketch is in his lightest\nbest vein, and yet he manages to give\nthose of us eager to know how much\nwork Sir Gerald had done a very proper\naccount of it. I had not realized that\nthe popular actor had held Wyndham s\nTheatre for fifteen years and during that\ntime had put on twenty-four plays and\nmade twenty-one of them into successes.\nThat is certainly an astonishing re-\ncord, and explains that his lovely large\nhouse and his motor and all the jolly\nluxuries which usually belong to an Eng-\nlish actor-manager have all been won by\nthis one off his own bat.\nThere is one thing more I remember\nof him. When I was once in his dres-\nsing room at his theatre in search of an\ninterview to enliven the pages of my old\nFleet Street daily, he pointed to a draw-\ning by his father George du Maurier,\nthat rare and to some of us that dear\nartist, which hung on his wall and I went\nup to look at it. \" It's the whole family \"\nhe said, and there right enough they were,\n...that loveliest of families, father, mother,\ndaughters, sons in one long line from\ntall to tiny, seven or eight or nine, I\nforget now, following the leader ...and\nlast of all came the tiniest boy of the\nfamily.\nAs 1 looked I heard du Maurier's\nvoice going on behind me in a mecha-\nnical way ; it said \" All of them are dead\nbut the last one and that's me \". It is\nnot at such moments that I for one would\nhear the voices of birds saying anything\nI could understand ; at such a moment it\nis only the voice of someone like Chopin\nI could hear when he speaks as he does\nin Etude 7 in C sharp minor. Birds\nsinging out ever so . joyously would not\nhelp nature doesn't come down\nunless to kill you. To accompany and\nrelease your thoughts gently like a nurse\nnature seldom does that.\nChopin plays his way mercifully on\nas I write this on my gramophone,\nreleasing much that we at times have such\nneed should be set free in us. Golf is"}, {"page_pdf": 11, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.11", "texte": "good - oh yes and cricket and ten-\nnis and even theatres and the poor old\njournalism I peg away at daily : all quite\ngood ; and the stars are good, and the\ncold moon too, ...and the memories of\ngold-wheat hair and a voice from the stage\nsaying \" And so I am, 1 am \" pouf,\nhere for some unknown reason I fall to\nthinking of my old days up in Liverpool\nwhen that actress ...what was her name\n...let it go ...used to come the rounds and\nI once heard those words of Cordelia ring\nout and it's like me and my infernal\nsense of appreciation to have treasured the\necho so long.\nYes, all these things are good when\nour nerves are strung up, but it is only\nmusic, and especially Chopin, that can\nbring me them back to my senses, bringing\nback more, much more, ...indeed all I love\n...when in my room my Pathe twin turns\nthe disc the record and we read and\nsee through our ears.\nStrange life so full of unceasing\neffort, the effort merely to get through life\nlet alone do anything more; the daily\nround to be turned without falling off,\nwithout entirely forgetting the many hun-\ndred rounds gone by:—yet these recalled\nonly weaken one, it would seem.\nBut who shall say so, since it was\nrecalling an old friend now gone fell\nover a cliff or was dragged to death by\nan ass of a pony or some such that\nI went to the window recalling this\nfriend on hearing a Chopin prelude ; and\nthere suddenly fell from my eyes a thick\nveil ...a delusion as to her unconquerable\nname and fame ...and I saw how she too\nhad been utterly forgotten. Over there\nacross the square she and I lived\nin that Hotel ; the four windows at the\ncorner. The Bristol Hotel it was called.\nIt is now a commercial House. Her name,\nwhat was it * yes, ..«* 1 'opsy.\nI recalled in vain that she had been\nlovely born lovely and stayed so too,\nto my thoughts : all that I recalled now\nwas that she had suffered been defea-\nted, trampled to death by the hoofs\nof a pony and the tongues of mankind.\nWas an artist too.\nThese artists.., how doleful would be\nthe thought of them if again some spring\nin us did not click and let fall another\nveil before our eyes ; and click, another\nis raised and then comes the blaze of sun\nand \" The Guards want powder \" is the\ncry, ...\" and by God they shall have it \".\n\" Then let us fill a bumper and drink\na health to those\nWho carry caps and pouches and wear\nthe louped clothes;\nMay they and their commanders\nlive happy all their years,\nWith a tow row, row, row, row, row, row\nfor the British"}, {"page_pdf": 12, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.12", "texte": "CATALOGUE OF THE SALE OF\nMLLE. RACHEL'S POSSESSIONS.\nHELD IN PARIS FROM THE 12TH TO THE 29TH OF\nAPRIL 1858 AT PLACE ROYALE No. 9 BY THE\nADMINISTRATOR OF ME. HAYAUX DU TILLY,\nRUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS\nWITH AN INTRODUCTORY NOTE BY X. Y. Z.\nFOREWORD\nRACHEL & ELLEN TERRY.\nI think that a publication of a translation\nof the sale of Madame Rachel's effects\nmust surely have a number of little inte-\nresting points for the historians who are\ndotted around England and America, and\nso it is being published in The Mask\nin its entirety ; part this quarter and part\nnext.\nA curious fact to note about the\nLibrary (the list of which will be given\nin the next number), is the number of\nHistorical works that it seems to have\npossessed.\nHer wine list delights me but, puzzles\nme at the same time when 1 read that\nshe leaves 261 bottles of Desmirail-Mar-\ngaux and 7 Haut-Brion. I wonder\nwhich it was of the two Bordeaux that\nshe liked the best. Had she just got in\na new batch of Margaux because there\nhad been such a run on the bottles, or\ndid she only buy a very few bottles of\nBrion ? 1 suppose connoisseurs in wine\nwould want to know the vintage of each\nof the entries, but none were given. I\nwonder if any one of the bouteilles still\nremains to be drunk, if any one of the\ncollectors of Rachel souvenirs has been\nso sentimental as to keep one single bottle\nintact of the 1413 l/ 2 bottles; if so 1\nwonder whether this will catch his eye ;\nif so, the wine must be very old ; if\nso, the man, unless he be a fanatical\npresent-day admirer of Madame Rachel's,\nmust also be very old ; if so, what 1\nwant to say is, cannot this remaining\nbottle be sent to the Comedie Frangaise\nwith strict injunctions that it never be\nopened ?\n1 suppose that some book about the\ngreat actress would tell how much or\nhow little money the costumes went for\nthe theatrical costumes —. I know\nwhere a girdle of white used in Phedre\nwent to ; it was, and may be it still is,\nin the collection of Dame Ellen Terry.\nIt is seventy-one years since this sale\ntook place in Paris, and doubtless the things\nhave been scattered far and wide, and if\nwe wanted to collect them together again,\nit would cost many thousand pounds to\ndo so.\nThis is not entirely without topical\ninterest to us, for the attempt to keep\ntogether a few of Dame Ellen Terry's\npersonal effects is being made.\nShe left no wine cellar for she had\nno wine to leave. Books she left, and\nfurniture, ... and a little old house.\nThe plan for the Memorial was put\n: before readers of The Mask in the last\nt number. The Committee avoid making\ns any appeal beyond that which says\n[ \" Ellen Terry lived and died here, there-"}, {"page_pdf": 13, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.13", "texte": "fore it is well worth preserving\". But\nI would add that in preserving this\nancient house in memory of Ellen Terry\nthey also preserve a piece of Tudor ar-\nchitecture in memory of England, and in\nfifty years from now not so very many\nexamples will remain of such farmhouses\nand not so very many homes have the\ndouble reason for being preserved.\nAnd preserving all this, what a cu-\nrious English custom is preserved. Will it\nbe realizable fifty years from now that in\n1900 the Londoners, weary with the\nweek's work, tired of the new styles of\nhouse construction which filled all available\nspace in London, fled not merely from\nthe city to the country, but from their\nnew jerry-built houses to the steady old\ncottages. The older the better, they\nfound for the older, the firmer was the\nbuilding, the more pleasant were their days\npassed in such a building.\nIt's a strange mood, this of taking\nflight from today, backing down two or\nthree centuries. And down amongst the\nold timbers and the silence the mind of\nthose days, of 1900 and thereabouts, train-\ned new bowers of rose and clematis\naround the house or cottage into which it\nhad taken refuge.\nAnd in these bowers and under this\nroof who was there in the English world\nof that day who did not come to talk\nto and to listen to Ellen Terry.\nSome of these visits have been re-\ncorded in a manuscript, and the type-\nwritten record is to be preserved in the\nMemorial. At least so lam told and\nonly to be read in that house.\nAnd I have heard of other delightful\nideas which, when carried out, will make\na visit to this house something like a\nvisit ...but I am not yet at liberty to disclose\nmore of the Committee's plans which,\nwhen I heard them, delighted me.\n\nCATALOGUE\nLINEN, WARDROBE, GUIPURES,\nAND LACE OF PERSONAL USE;\nTABLE AND HOUSEHOLDLINEN.\n(')\nSECTION ONE.\nLINEN\n1. Linen handkerchiefs.\n2. Plain batiste handkerchiefs, embroidered\ninitials.\n3. Plain batiste handkerchiefs, trimmed\nwith Valenciennes.\n4. Rich handkerchiefs of batiste, plain or\nembroidered, trimmed with deep Valenciennes.\n5. Handkerchiefs of (2) trim-\nmed with deep Valenciennes, with escutcheon\nwith the emblems of Tragedy.\n6. Turkish handkerchiefs of batiste, em-\nbroidered in coloured silk.\n7. Handkerchiefs of fil d'aloes, trimmed\nwith dentelle d'aloes.\n8. Chemises of embroidered cambric.\n9. Chemises of nansouk trimmed with lace.\n10. Chemises of linen trimmed with lace.\n11. Chemises of embroidered linen trim-\nmed with lace.\n12. Chemises of batiste trimmed with lace.\n13. Chemises bouillonnees. (puffed).\n14. Chemises of embroidered linen trim-\nmed with lace.\n15. Nightgowns of nansouck trimmed\nwith lace.\n16. Nightgowns of linen, embroidered.\n17. Peignoirs, embroidered and trimmed\nwith lace.\n18. Embroidered camisoles.\n19. Plain petticoats.\n20. Embroidered petticoats.\n21. Petticoats trimmed with lace.\n22. Embroidered pantalons.\n23. Cotton stockings.\n24. English stockings.\n25. Stockings of Scotch thread.\n26. Silk stockings.\n27. Flannels.\nThe above articles, and a large number of those\nwhich follow can be sold separately.\n\n(1) We have followed the order as published of the list of the\nsales day by day save in regard to the Personal Jewelry, which we\nhave omitted this quarter and shall give in our next number with\nthe list of the Books. Ed,\n(2) Thread of alloes."}, {"page_pdf": 14, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.14", "texte": "v/\no WARDROBE o\n, I I ■ ■\"\"r \"UM —wmw I 'IW\n28. Dress of plain mauve silk.\n29. Dress of mauve silk, trimmed with blond.\n30. Dress of foulard.\n31. Dress of flowered silk poplin.\n32. Silk dress of white Moire antique,\nbrocaded in flowers.\n33. Dress of pink gros de Naples silk.\n34. Dress of flower-brocaded silk.\n35. Dress of black striped satin.\n36. Robe de chambre of embroidered\nChina silk.\n37. Dress of black silk cloth, trimmed\nwith velvet.\n38. Dress of black silk, trimmed with jet.\n39. Five under-dresses of silk.\n40. Dress en piece, of silk poplin.\n41. Dress of plain black velvet.\n42. Dress of garnet velvet, trimmed with\nblack lace.\n43. Dress of blue velvet trimmed with\nblack lace.\n44. Dress of white embroidered muslin.\n45. Dress and pardessus for the same, of\nmuslin.\n46. Dress of violet silk with broad bands\nof velvet.\n47. Robe de chambre of printed crepe de\nChine.\n48. Robe de chambre of white quilted\ntaffetas.\n49. Complete Toilette, comprising: cor-\nsage, skirt, mantle and sleeves of silk, velvet\nand plush.\n50. Dress of black silk cloth.\n51. Blue dress of silk.\n52. Three white dresses of silk.\n(These last four dresses have been\nworn in Adrienne Lecouvreur).\n53. Two complete toilettes in plain white\nmuslin and India muslin.\n(These two toilettes have been worn\nin Mademoiselle de Belle-Isle).\n54. Hood of satin and velvet.\n55. Three corsages of black velvet.\n56. Cloak of black silk cloth.\n57. Silk cloak trimmed with black lace.\n58. Cloak of rich velvet, trimmed with\njet and guipure.\n59. Muff of sable ; velvet cloak trimmed\nwith sable.\n60. Black lace umbrella with coral handle.\n61. Algerian burnous.\n62. Indian cachemire scarf embroidered\nin gold. , .\n63. Long Indian cachemire shawl, white\nground. . . , ~ j\n64. Cerise crepe de Chme, embroidered.\n65. Oriental scarves.\n66. Egyptian and Chinese costumes.\n67. Coiffures, (1\n68. Chaussures\n69. A hundred pairs of % oves.\n70. Lengths of various stuns.\nOGUIPU RESO\nmi IM7Hilium liiiiiiiigir I P—wUKIIm iißi.innnrn—^\n71. 1 metre 45 width 0,80, strip.\n72. 1— 45 » 0,80, Strip.\n73. 1 55 » 0,90, strip.\n74. | 60 » 0,80, devant d' au e\n75. 2 20 » 0,63, strip.\n76. 1 80 » 0,45, strip.\n77. 2 85 » 0,50, crowns and fleurs\nde lis.\n78. 2 —-15 » 0,53, landscape.\n79. 4 42 » 0,35. strip.\n80. 4 50 » 0,35, strip.\n81. 1 50 » 0,85, cover for pillow.\n82. 3 25 » 0,36, strip.\n83. 2 —BO » 0,35, strip.\n84. 3 25 » 0,50, strip.\n85. 1 40 » 1.10, over-spread for\neiderdown.\n86. Fifteen pieces of guipure and embroide-\nries for arms of armchairs, coverlets, etc.\n87. Two strips, for front of dress, of 1\nmetre 10 each.\n88. bas de robe in embroidery, 2 metres 45,\nwidth 0,35.\n89. 1 metre 60 width 0,45, pelerine (tip-\npet).\n90. 3 » 0,65, scarf.\nWHITE LACES.\n91. 1 metre 55 width 0,07, Malines in two\nlengths.\n92. 2 25 » 0,04, Valenciennes.\n93. 1 30 » 0,06 ' Valenciennes.\n94. 1 40 » 0,05, Alengon, strip.\n95. 1 85 » 0,10, Alengon, lappets.\n96. 3 75 » 0,10, Alengon, two pie-\nces.\n\n(1) (ie, hats and head-gear of all kinds).\n(2) (i. e., shoes, boots, slippers)."}, {"page_pdf": 15, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.15", "texte": "97. 5 metres 80 width 0,10, Alengon, three\npieces.\n98. Collar of Alen-\n?on.\n99. 5 20 » 0,68, fichu trimmed with\nAlengon de\nelles.\n100. 1 84 » 0,09, application, two lap-\npets.\n101. 1 metre 10 application de Bruxelles coif-\nfure.\n102. 3 metre 85 width 0,20 application de\nBruxelles flounce.\n103. 3 - 82 » 0,20, idem flounce.\n104. 3 95 » 0,20, idem flounce.\n105. Casaque, application de Bruxelles.\n106. 2 metres 70 width 0,70, applic. de Brux-\nscarf.\n107. 1 —<■ 20 » 0,10, point de Brux-\nelles, two lap-\npets.\n108. Sleeves in application d'Angleterre.\n109. 1 metre 20 width 0,07, application d'An-\ngleterre.\n110. 1 10 » 0,07, idem.\n111.1 50 » 0,07, idem.\n112.1 30 idem berthe.\n113. 2 - » idem fichu.\n114.1 16 idem fichu.\n115. 7 40 » 0,40, idem two flounces.\n116. 1 20 » 0,57, idem veil.\n117.3 20 » 0,60, idem flounce.\n118. 4 80 » 0,60, idem flounce.\n119. Pointed shawl.\n120. 3 metres 15, width 0,06, point d'An-\ngleterre, strip.\no BLACK LACE O\n121. Two pairs of sleeves in black Chantil-\nly lace.\n122. Chantilly veil.\n123. Casaque of Chantilly.\n124. Chantilly scarf.\n125. Pointed shawl of Chantilly.\n126. Square shawl of Chantilly.\nSILVER - GILT LACE\n127. 1 metre 50 width 0,10, silver gilt lace.\n128. 1 80 » 0,11, idem.\n129. 1 1 idem lappet.\nL I N G E R I E\n130. A quantity of collars, sleeves, fichus,\npelerines, etc., the greater part trimmed\nwith Valenciennes and application de\nBruxelles and d'A ngleterrre.\nTABLE AND HOUSE LINEN.\nmnmmmtamammtmaaaasmmtmmt mi n INI i\n131. Damask table napkins for 18 and 20\ncouverts.\n132. Damask table cloths and napkins.\n133. Damask tea napkins.\n134. Batiste tea napkins.\n135. Napkins of striped linen.\n136. Napkins of English linen.\n137. Pantry linen.\n138. Aprons.\n139. Torchons (dish cloths and dusters).\n140. Linen sheets.\n141. Pillow cases, plain and embroidered.\n142. Casement and window curtains of em-\nbroidered muslin.\nSECOND SECTION.\no CHINA o\nwnmiiiiii—i'ill iwhim1 iin iiiiiiiiiiiagiwMiii ■>—hmi iiiii unywiw\n1. Square cup in Sevres porcelain, flowe-\nred, mounted in bronze\n2. Round cup, Sevres porcelain, pink\nground with birds, mounted in bronze rams'\nheads.\n3. Small vase of Sevres porcelain, with\nmedallions, mounted in bronze.\n4. Two small Sevres porcelain vases, birds\nand medallions.\n5. Oval tray with medallions.\n6. Cup and saucer.\n7. Round box of Saxe porcelain, with\nvery fine paintings.\n8. Bouquet of flowers (Saxe).\n9. Two little statuettes (Saxe). Love as\na cook, and its pendant.\n10. Two little statuettes (Saxe), the\nMusicians.\n11. Two statuettes (Saxe), the Grape-\ngatherers.\n12. Head of young girl (Saxe), Height\n23 c.\n\n(1) In addition to the numbering from I onwards of each section,\na progressive numbering from 1 to 952 of the whcle catalogue is\nadded in the original list. This has been omitted here as super-\nfluous. Ed."}, {"page_pdf": 16, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.16", "texte": "13. Group of three figures (Saxe).\nHeight 24 c.\n14. Group (Saxe), Satyrs and Bacchante.\nHeight 34 c.\n16. Dog of the West Indies.\n17. Group.\n18. Breakfast cup and saucer (with the\ncrowned Dauphin). (This cup was presented\nto and belonged to Mile. Clairon).\n19. Six porcelain coffee spoons.\n20. Six oriental coffee cups.\n21. Eighteen coffee cups.\n22. Milk jug.\n23. Twelve saucers with the cipher of\nking Louis-Philippe. (Sevres).\n24. Tea service in Saxe porcelain.\n25. Dinner service in English porcelain.\n26. Coffee service in Sevres porcelain,\nwith historical portraits of Albano, Giulio\nRomano, Annibale Carracci, Michael Angelo,\nRembrandt, Titian, Mazzuoli, Guido Reni,\nDomenico Zampieri, Agostino Carracci, Lu-\ndovico Carracci, Jacopo Robusti, Raphael,\nSalvator Rosa, Francesco Barbieri, Leonardo\nda Vinci.\n27. Dinner service in crystal ware.\n28. Bohemian glasses, engraved.\nOBJETS D'ART AND CURIOS, BRONZES AND\nO VARIOUS ARTICLES. O\n29. Set of Russian dice.\n30. Cover embroidered in pearls.\n31. Steel pen-holder.\n32. Lamp of lava, antique form.\n33. Statuette, Russian soldier.\n34. Paper-weight with fruits.\n35. Russian box, blue ground with pain-\ntings.\n36. Indian mirror with paintings.\n37. Oval box with medallions, porcelain.\n37. Statuette of rock crystal, on a silver-\ngilt pedestal, set with turquoises.\n39. Bronze statuette on a pedestal of\npietra dura.\n40. Bohemian glass with armorial bear-\nings.\n41. Sand-glass for desk in silvered and\ngilded copper.\n42. Antique fan, sylvan scene.\n43. Fan, antique mount.\n44. Fan set with gems.\n45. Portrait of Mile. Clairon, plaster.\n46. Le dessus and le dessous. plaster.\n47. Two intaglios.\n48. Two malachite candlesticks.\n49. Malachite seal supported by a Rus-\nsian porter in silver.\n50. Malachite seal mounted in gold.\n51. Malachite paper-weight; the reaping-\nwoman.\n52. Malachite paper-weight, ornamented\nwith engraved silver-gilt.\n53. Paper-knife of malachite and silver-\ngilt.\n54. Pen of malachite, gold and silver-gilt.\n55. Pencil-holder of malachite, gold-\nmounted.\n56. Malachite coffer.\n57. Very beautiful coffer in malachite\nand gilded bronze. (Presented by Her Majesty\nthe Empress of Russia, Saint-Petersberg,\n1854).\n58. Necessaire for perfumes, mother of\npearl with medallions, decorated with gold.\n59. Ornaments for console ; three pieces\nin enamelled silver and lapis lazuli.\n60. Silver medallion with figures in relief,\nenclosed in a velvet casket with monogram.\n61. Silver seal; the Postillion.\n62. Medicine chest in silver-gilt, with\nthirteen bottles.\n63. Silver ingot.\n64. Chaplet in cornelian and silver-gilt\n65. Two pedestals in silver-gilt, set with,\nturquoises and cornelians.\n66. Silver cup.\n67. Perfume-burner in silver filagree.,\n68. Basket in silver filagree, with fruit in\nmedallions on porcelain.\n69. Perfume-burner in silver-gilt and\nenamel.\n70. Paper cutter; handle decorated with\ngold, blade silver-gilt.\n71. Russian paper knife; the Carpenter;\nsilver-gilt.\n72. Silver seal; the Bird's nest.\n73. Silver seal; Gros-Rene and Mariette\nfrom the Depit amoureux.\n74. Two Russian paintings, Christ and\nthe Virgin; frames of silver-gilt; casket.\n75. Two portraits, Corneille and Racine,\nremarkable miniatures by Petitot; porcelain\nframes.\n76. Backgammon set in Chinese lacquer.\n77. Two semainiers O of Chinese lacquer.\n\n(1) Letter-rack, or tablet for weekly notes."}, {"page_pdf": 17, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.17", "texte": "78. Paper basket, in box form, of Chi-\nnese lacquer.\n79. Three frames with engravings, cartes\nde visite, (l) drawings and autographs.\n80. Crystal cabaret.\n81. Mantel-shelf ornaments, three pieces,\nin Japanese porcelain.\n82. Decoration for foyer in gilded-bronze.\n83. Hearth decoration : for foyer, Eagles,\nlarge size.\n84. Decoration for foyer in gilded bronze.\nLes Amours.\n85. Two porcelain vases, blue lustre,\nadorned in gilded-bronze.\n86. Two vases of Tournai porcelain, with\npaintings on the frieze representing the fetes\nof Pan and Pomona.\n.87. Oriental sabre, with richly ornamented\nsilver scabbard.\n88. Wild boar : bronze by Fratin.\n89. Two comets (2) of porcelain, blue\nlustre, with lights of gilded bronze.\n90. Large lustre in gilded bronze.\n91. Fittings for lamps and candles.\n92. Crystal lustre.\n93. Venetian looking-glass with copper\nornaments.\n94. English paper-case.\n95. Inlaid Pap er-case.\n96. Luxor, water colour by CrapeleL\n(View of the ruins occupied by Mile. Rachel\nduring her travels in Egypt).\n97. Three boxes of Chinese lacquer.\n98. Two casement curtains of Chinese\nsilk, antique.\n99-102. Four Etruscan vases.\n103. The Christ, fine marble attributed\nto Canova.\n104. Two scent bottles, engraved and\ngilded silver; Cupids supporting a crown\nwith monogram in brilliants on blue enamel.\n105. Watch in copper, oval, of 1571,\nwith engraved portraits and designs. (This\nvery curious watch belonged to the Empress\nElizabeth of Russia).\n106. English Necessaire de coy age (dres-\nsing case), fitted in Silver-gilt and ivory.\n(This necessaire was on view at the Universal\nExhibition of 1855).\n107. Gold necessaire de voyage in its\nivory casket.\n108. Russian cup, engraved and gilded\nsilver; on the lid saint Michael vanquishes\na dragon. Moscow, 1864, with inscription.\n109. Russian cup in engraved and gilded\nsilver ; on the lid a child tramples on some\ngrapes ; women and children support the cup.\nMoscow, 1854, with inscription.\n110. Cup of engraved silver, enriched\nwith rubies, emeralds and turquoises. On\nthe lid, Apollo, seated and holding a lyre, is\nsurrounded by the nine Muses, in medallions.\nThe vase is ornamented with portraits in\nalto-rilievo ef Benvenuto Cellini, Bernard\nPalissy, Michael Angela, Maso Finiguerra,\nLorenzo Ghiberti, Albert Durer, and allegories\nrepresenting justice, Music, Geography, Geo-\nmetry, History and Theology.\nOn the foot are four little detached figures,\nDrawing, Architecture, Painting and Sculpture.\nThis cup is as remarkable for its compo-\nsition as for the purity and finish of the work.\n111. Inkstand in carved wood, surmounted\nby the bust of Moliere.\n112. Two porphery vases, mounted in\ngilded bronze, on pedestals.\n113. Table cover of blue Indian cache-\nmire, embroidered in gold, with guipure\ntrimming.\n114. Skin of African lion.\n.1 15... White bear skin.\n11-6. Porcelain toilet set.\n1 ill. Rich toilet articles in Chinese enamel.\n1 18.. Abissinian mandoline.\n119. Guitar. (This guitar, which has\nbecome historic, is that on which the little\nL'lisa Felix accompanied herself, when she\nhad not yet become the great Mile. Rachel).\nTHIRD SECTION.\no CELLAR. (1) O\nM YGM ■MWIWIIIII ■■ I ■ IMIIIMI MIL NIIHIWI—~WN— NI'FIIIIBNA mmi NIIH UIMTNIWIMIND mini MIRI^IN'FT^RAYRNFC\nBORDEAUX WINES. 224 bottles\nBeaumont; 113 bottles Lascombe :45 bottles\nSaint-Estephe, Lafont-Rochet: 261 bottles\nDesmirail-Margaux: 78 bottles Corce-Con-\ntenac : 141 bottles Pichon-Longuevil e vieux:\n90 bottles Lur-Saluces : 7 bottles Haut-Brion:\n51 bottles Chateau-Laffitte : 25 bottles Ffaut-\nSauterne\nVARIOUS VINTAGES. 49 bottles\nPomard tres-vieux. 192 bottles C6te-du-\n\nThis may have meant either visiting cards or the cfd \" cartie\nde Visite '' sized photographs\n\\£.) rrobably some kind of branched candlestick..\n(1) Numbered in column from 1-21, but grouped here so as to\n3gave space, E-d."}, {"page_pdf": 18, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.18", "texte": "Rhone : 5 bottles Vin de Moselle : 20 bottles\nMalaga : 1 1 bottles Pbrt: 5 bottles Madeira :\n13 bottles Madeira : 32 bottles Xeres : 9\nbottles various fine wines.\nLIQUE U R9 bottles cognac : 3 1/2\nbottles old rum.\n\nTHEATRE JEWELS\nAND COSTUMES\nO J E W E L S (2) o\n|«»I i'i ■mm n - - ■T-imTiirirwrrxmrmMMiiiir mm , t,, M,lla .nf-rriirn ~--T. .|T|[rrm| rM\n1. Pearls of different sizes.\n2. Necklace, imitation malachite.\n3. Girdle.\n4. Pearl decoration for a dress,\n5. Jet girdle {Angelo).\n6. Four fancy bracelets, strass.\n7. Two ear-rings.\n8. Aigrette.\n9. Brooch of strass and; imitation emeralds.\n10. Aigrette, fuchsias in strass.\n11. Strass riviere, ve#y large stones.\n12. Two rivieres of strass, stones off me-\ndium size.\n13. strass riviere in two rows.\n14. Two stjass aigrettes.\n15. Five, strass brooches.\n16. Two large hanging ear-nWs, strass,\nancient setting.\n17; Bouquet of five points, strass.\n• . .ass brooch, large and medium\nstones, with a strass bracelet, with three rows\not pearls.\non' oTaS,S J°']C P2®6* 1;-Tge stone.\n9 1 IleC Ce» tWO IOWS,\nl. f earl necklace with. five rows and\npenaants.\n22. Girdle and two bracelets with pen-\ndants, with imitation emew.fd cabochons, two\nepaulettes.\n?a' t\"W° ear~™§s» a large brooch,\nj '. . epaulettes., two bracelets, a\nress decoration in pearls and imitation\nturquoises.\n11 V> ear-rings and bracelets with\nblack pearls.\n26, Ferronniere, *3) two }l;gK combg in co_\nloured stone, brooch of strass and imitation\nemeralds.\n27. Necklace and clasp, pearls and co-\nloured stones.\n28. Seven plaques, cameos on shells.\n29. Two pearl bracelets, and barrettes of\nthree strass gems.\n30. Pearl neck-piece.\n31. Diadem formed of two earrings and\nthree brooches.\n32. Miroir de beaute.\n33. Headdress and its cap, necklace,\ncollar, and bracelet adorned with sequins.\n(Angelo, Ist and 3rd acts).\n34. Two shoulder pieces in strass, pearls\nand garnets. (Angelo).\n35. Mediaeval purse. (Angelo).\n36. Two brooches and head decoration.\n(Angelo).\n37. Rich poignand, sheath of garnet velvet.\n38. Strass crown. (Marie Stuart).\n39. Necklace, in pieces, and cross, gilded\ncopper with filagree. (Marie Stuart).\n40. Very rich girdle. (M arie Stuart).\n41. Chaplet, jet and ivory. (Marie\nStuart).\n42. Diadem. (D on Sanche d'Aragon).\n43. Two necklaces. (Don Sanche).\n44. Alms-purse in cloth-of-gold and co-\nloured stones. (Don Sanche).\n45. Two bracelets with pearls and large\nrubies. (Moineaude L\n46. Two plaques and a large cordon of\nRussian order. (Czarine).\n47. Two girdles, one in pearls, the other\nin coloured stones. (Adrienne Lecouvreur).\n48. Poignard in strass and coloured\nstones. (Adrienne Lecouvreur).\n49. Strass bracelet. (Adrienne Lecouvreur).\n50. Diadem. (Tancrede).\n51. Six bracelets. (Virginia).\n52. Diadem, two bracelets, two necklaces,,\ntwo fillets. (Athalie).\n53. Diadem with pearls and five cameos:\non shell. (Phedre).\n54. Ear- rings, cameos on shell, and pearls.\n(Phedre).\n55. Diadem with nine cameos on shell..\n(Andrornaque) •\n56. Six bracelets in the form of serpents..\n57. Two flat bracelets. (Hoi ace).\n58. Two necklaces. (Mithridate).\n59. Diadem, four fillets, two bracelets.,\n(Mithridate).\n\n\"\"\" -» - >»\n\nno. i »'i: '\"7\nH3 An,, i * tei rumbers alone are given),\na .gold chain. W°'Q y wpmcn an*! fixed on the foreheatf &s"}, {"page_pdf": 19, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.19", "texte": "60. Large square brooch with star.\n61. Three chain ends.\n62. Diadem, four rich bracelets. (Cleo-\npatre).\n63. Diadem, (h redegonde).\n64. Two head-bands, two bracelets.\n(Cinna).\n65. Diadem, two plaq(Esther).\n\nCOSTUMES.\nO MITHRIDATE O\n(Role of Monime)\nWUffIMMWBfrW HI Willi H\n66. White tunic with corsage, cloak of\nblue merino, embroidered in gold.\no ATHALIE o\n■ i' in ■umiiUßM—iin«ml*nwiTWiiiTiiininrßir^i—wi—woihittiimii iwnnnwiwirami unwi miibiiiiiw i w imi mi iiniwiimnn m —n\n67. Skirt and corsage, of black merino,\nskirt of blue merino, gold and jewelled em-\nbroideries.\n■ iwiiiniiHummi miini'T—rn m i, ht-khi mm i h wixmii ttmii' ii fur n urn rn mwiiimi' immmniii'ii nn miwi\no C I N N A o\n(Role of Emile).\n68. Tunic and corsage of white merino with\nred wool embroideries, cloak of red merino.\nimmhubhh hi bi ■j.ni'.'it.jaum.mwMMwtgw iiwiii—i' iii in w iimmnin ■■urn wimi i n ii i\nO POLYEUCTE O\n(Role of Pauline).\n-. ~ M ■g-n-nTiummmi mmiuiiimn ' ■\n69. Semi-circular cloak, tunic and corsage\nof white merino, embroidered in wool, square\ncloak, tunic and corsage in rose-coloured me-\nrino, embroidered in white.\n\" i in irm-jn iiinwnim , mi\nOBRITANNI CUSO\n(Role of Agrippine).\n70. Square red cloak, embroidered in gold,\no CLEOPATRA O\n71. Corsage and skirt of yellow silk bro-\ncaded in gold and silver and embroidered in\ngold.\n72. Semi -circular cloak of red merino with\njewel-work and gold embroideries.\n°PHEDREo\n73. Semi-circular cloak, white merino, em-\nbroidered in gold, semi-circular veil, in gold-\nembroidered crepe lisse. peplum of white ba-\nrege embroidered in gold.\n74. Tunic of chamois merino, semi-circular\ncloak of white merino, peplum of white\nbarege, and veil embroidered in gold.\n75. Tunic of chamois merino, semi-circu-\nlar cloak of red merino, barege peplum, veil\nof crepe lisse, all embroidered in gold.\n76. Tunic of chamois merino, semi-cir-\ncular cloak of red merino embroidered in gold.\n77. Tunic and cloak of white merino,\nembroidered in silk and gold, veil and peplum.\nOANDROMAQUE O\n(Role of Hermione).\n78. Two white cloaks.\n79. Two blue tunics.\nONICO D E M E O\nWBBBWiimunmmma miiiwwtmmujiiimuai m ■—iw iiiuitmmuM.mm.i.mintn-jumj,uuiajaaugjk'\n80. Semi-cii cular white cloak, with gold\nembroideries.\nOTANC R E D EO\n(Role of A menaide).\nWHIIB 1 - UIHHHIW fW JW. J» I JLJUHIMUULU.I*! llirTlTrn I II rnTTnT illTf'iTl UTiTllllH II\" iIM IHBHI MM HI I lilll\" ll IWHHI j WHHP )■ Hj| >H\n81. Two corsages, a skirt of white merino.\nWHm i JRzmxmjMJSßLJue?. hi ■ liwii iii —ihbii ■ im„ immMmmmmmmmtammoßsmm\no BAJAZET O\n\"BWW—n»—naawpp—Mbmbwi WM—MOB—MM—M™— i i i«*TrnrtniirnmtiM«B»ow\n82. Turban, sash and trousers of oriental\nstuff, Turkish slippers.\n83. Skirt and corsage of cherry-coloured\nsilk with embroideries.\n84. Coi sage and under-robe of embroi-\ndered yellow satin.\n85. Cloak, vest and dolman of black vel-\nvet embroidered in gold.\nHORACE ET LYDIE\n86. Corsage and skirt, peplum of white\nmuslin embroidered in gold.\nOMOINEAU DE LESBIEo\n87. Tunic of rose-coloured merino, pep-\nlum and veil, embroidered in gold.\n88. Rose-coloured tunic and corsage, em-\nbroidered in gold.\n89. Corsage and tunic in striped rose-co-\nloured muslin, a white peplum, the whole em-\nbroidered in gold."}, {"page_pdf": 20, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.20", "texte": "DEPIT AMOUREUX\n(Role of Marinette).\n90. Complete costume with two skirts.\nll—i IlllilHll Ij jf llW———w !■'*■ < 1\" 'MI 1\"WI\" Til\" ' »>■ ■ \"\"\" \" \" I|gir\nMALADE IMAGINAIRE\n(La Ceremonie).\n■ iailJJJlUUHiuJMJi,JiiJW'Uil^jjajKJmaiW,MWiM'Tirw)«**,i,i miihi n—ininwir ■ mini hi n i i i i ————■«——\n91. Cloak of red merino, trimmed with\nimitation ermine, and square cap.\no MISANTHROPE O\n(Roleof C\n92. Corsage and skirt of white moire,\nbrocaded in silk and gold.\nBOURGEOIS GENTILHOMME\n93. Vest of green velvet with embroide-\nries, calotte and two bands of silver-gilt\ngaloon.\nOANGELOO\n(Role of Tisbe).\nFirst Act.\n94. Corsage adorned with coloured jewel-\nied-work, skirt of white satin embroidered in\ngold, under-skirt of cloth-of-gold trimmed with\njewel-work.\nCorsage and skirt of white silk embroi-\ndered in gold, under-skirt in cloth of gold,\nscarf of pink crepe, dress-front of white satin\ntrimmed with jewel-work.\nSecond Act.\n96. Corsage and skirt of black velvet with\ngold galoon.\nO MARIE STUARTO\nMBBBBWWHBIBBWaMWHBWWKBHgMBfIBMBBWWWBMWBWBBBWBBMIWIB BMP Bill'lll I mXXGJtm ■ ■ PIIMHII—B— IWI WWIII 91 ■IttMMMMWWBWMMBIMWWBMi\nFirst Act.\n97. Corsage and skirt of silk damask bro-\ncaded in white, garnishings of pearls and\ngaloons.\n98. Coiffure, and cuffs (machettes).\nFifth Act.\n99. Corsage, black velvet skirt (with three\nrows of galoon, corsage and dresss front of\nblue silk).\no CZARINE o\n100. Imperial mantle in cloth of gold,\nwith the two-headed eagle, trimmed and lined\nwith fur.\n101. Skirt and corsage in cerise velvet\nwith about eight metres of fur and a garni-\nture de robe of imitation ermine.\n©ADRIENNE LOCOUVREUR O\nSecond Act.\n102. Sleeves and skirt of gold-embroi-\ndered muslin.\n103. Skirt of black silk damask, broca-\nded in gold, with gold embroideries.\n104. Turban, pardessus (over-robe) of white\nsilk, brocaded in gold.\nThird Act.\n105. Corsage and skirt of cloth of gold,\nembroidered in rose chenille.\n106. Corsage and skirt of rose silk, bro-\ncaded in silver.\n107. Corsage and skirt of chamois silk\npatterned with flowers.\n108. Corsage and skirt, rose taffetas, pat-\nterned with flowers.\n109. Corsage and skirt, moire silk bro-\ncaded in gold, with under skirt of white moire\nantique embroidered in gold.\nIU > I.——P«—l ■ H—\nJEANNE D'ARC\nFirst, Second and Third Acts.\n110. Two tunics, two corsages and two skirts\nof blue merino.\n111. Very fine armour richly damascened\nleg-pieces, close-fitting coat. (Juste aucorps).\n112. A quantity of various articles which\nhave served for the theatre.\nTo be concluded.\n(I) A head piece."}, {"page_pdf": 21, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.21", "texte": "DESIGN IN THE\nTHEATRE\nWITH SOME NOTES ON THE\nNECESSITY OF PUTTING EVERY\nONE IN HIS RIGHT PLACE.\n\n(I)\nTHIS excellent contribution towards a New\nTheatre (a theatre already establishing\nitself firmly on the continent) should help\nto bring the day when it is established in\nEngland a good deal nearer.\nIt is almost as well stocked as the \" Robes\nof Thespis ,a book which for some un-\nknown reason was priced at £ 8.8.0 whereas\nthis Studio volume costs but 7/6.\nMr. Geoffrey Holme carries on the work\nof his father and develops it with any\namount of energy and discernment.\nI rather wish that the Editors had called\ninto their service a few of the men and\nwomen who could have written about Design\nin the Theatre as it has been practised cen-\ntury by century, as Mr. Shenngham points\nout, \" since 458 B.C. \".\nExcellent are the brief notes by Messrs\nCochran and Playfair. But it is for the two\ngood articles by George Sheringham and\nJames Laver that we have to buy this volume\nwith its 120 full page plates, many being in\ncolour. To have produced such a volume\nfor 7/6 is really an achievement.\nSo then, to Mr. Sheringham and Mr.\nLaver.\nThe first deals with the Britishers of\ntoday, the second with the Continentals of\ntoday. Mr. Sheringham limits himself to\nnine short pages, Mr. Laver is allowed\nthirteen. The men from 458 B. C. to\n1900 A. D. do not get proper attention.\nThis is the only fault I v/ould find in\nthis book.\nIt is rather a serious omission because\nwe ought to see some of the rubbish and\nsome of the fine things of yesterday in order\nto realise how good and how bad our modern\nwork is ... . and there is some very bad\nwork reproduced in this book. It will be\nseized on as representative and it will also\nbe derided, as is both fair and unfair. Unfair\nunless you show that in 1880, in 1850, in 1820\nand so back and back till we come to 458\nB. C., there has always been bad as well as\ngood work done in this branch of the Thea-\ntre as in every other branch.\nThe importance of a Historical survey is\nstill so obvious that 1 hope Studio may\nsome day see its way to issue a second vo-\nlume \" Designs in the Theatre good and\nbad since 458 B. C. \".\nIt's odd how, when it comes to displaying\nwhat was done in any age gone by, the good\nwork is always collected and shown and the\nbad work dropped .... or if shown its errors\nare not noted. So much is lost by this\navoidance of the question of what is good, ie\napt, and what is bad, ie inept.\nEven in the fine volume on the stage\n_ D\nwork of Inigo Jones we get nothing\ncritical from our stage point of view.\nWhen the Telbins and the others of 1850-80\nare damned we get no word to tell us how\nremarkable were their victories for they,\nlike all of the better men before or since,\npreserved not merely the weaknesses of a\ntradition, but saved certain commonsense\nvalues which are still of immense worth and\nalways will be.\nThe Russians are trying to break these\nup and 1 think we have to preserve them.\nAway with all the rubbish, but for the\nsake of the world treasure every appropriate\ndevice lest, when to-morrow comes and we\nsearch for something and discover it after\ntwenty-five years' labour, we become aware\nthat we really need never have lost it for\nit will be the same old device.\n1 talk of devices, not principles .... I\nwould even use the word tricks since\n\n(1) De sign in the Theatre. Edited by Geoffrey Holme. The\nStudio Ltd. Price 716. A brief review of this already appeared in\nThe Mask but our readers will appreciate this fuller notice by Mr.\nGordon Craig.\n(2) Published in 1924, and referred to in 4# The Mask\" vo-\nlume XIV pag. 1 1.\n(I) Walpole Society; London. 211- net."}, {"page_pdf": 22, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.22", "texte": "Titian himself or Shakespeare employed tricks\nand it is the trick which does the trick.\nIf I knew ail the tricks of writing I could\nget what is in my head out of it on to this\npage ; not knowing the tricks I cannot. The\nfirst-class journalistic touch is what I lack\nwhat cannot an experienced sleight-of-hand\njournalist do ? Can he not seem to make\nhalf -crowns vanish and appear again appa-\nrently out of the air ? And it is to preserve\nall these tricks which experience has wrung\nout of years of necessity that we need our\ntheatres today.\nLet us adventure forwards by all means,\nbut also let us preserve what has been\nadventurously discovered in the past.\nWhen in the course of his excellent article\non the Continentals of today Mr. Laver\nrefers to the famous and immensely able\nKeinhardt he names a few of his assistants,\nRoller, Stern, Orlik, etc. ; but he omits\nto say a word of the men who counted for\nReinhardt more than all these his stage-\nmanagers, his regisseurs. So the name Va-\nlentin is absent, and two or three other\nnames of regisseurs that should never have\nbeen lost to us. I select Valentin because he\nwas so German, so good in his good old\nGerman way. He died at an early age in 1908.\nDesigners are valuable assets, but without\nthe regisseur they are all at sea, and it is\nonly when the designer understands the\nworkings of the regisseur's mind that the\nfull force of his designs becomes available.\nIt is for this reason that I have always\nheld and still hold that it is the regisseur, ie\nstage-manager or producer, that is the man\nwho, if honoured and allowed his legitimate\nplace as master of the stage, can and will\nsave the situation of all the theatres in\nEurope and America. If denied his place\nthe theatre must go on crumbling.\nThis regisseur is unprejudiced : he is not\nfor star actors alone, not for sceneries alone,\nnot for lighting alone ; not for literature, not\nfor opera versus play, not for any one or any\ntwo or three things detached from the others:\nhe is for all.\nFie is for the Art oi the Theatre if there\nbe such an art; he is for the theatre people,\nthe workers from Shakespeare down to Bakst,\nand he is for the lot of them, keeping each\nin his place: he is there to see that each\none is not out of place.\nThis is why Sir Nigil Playfair (who, hy\nthe bye, amusingly if somewhat heroically,\nrefuses to allow that I am a stage manager)\ngot such an excellent result up at Hammer-\nsmith. He kept Gay, Shakespeare, Fraser,\nHembrow, Ranelow, Sayler and the musicians\nand the dancers each in his place, and\neveryone I think was happy and it was alia\ngreat success.\nFor Sir Nigil Playfair is one of our\ndozen ablest English regisseurs. There are\nperhaps five more being used, two of whom\nmay be wandering in the provinces, while three\nare carefully suppressed in London : but\ntheir work is seen, and it never fails to do\nour stage all the good in the world.\nI want the full number of twelve and\nunsuppressed. I want each to be given full\ncontrol over a representative English Theatre:\nI want to see these twelve united in a single\npurpose, to recover all the lost ground of the\nlast twenty years, and although each goes\nalong his own path 1 want to see them keep-\ning really in touch with one another.\nUnder these twelve I want to see the\ntwelve best business managers and the three\nhundred best actors and actresses and the\nhundred best designers.\nMr. Cochran is one of the twelve business\nmen or impresarios who could stand with one\nof the twelve regisseurs ; and we have\nother impresarios. There is Mr. Kae and\nthere is Sir Barry Jackson. There are at\nleast twelve first class men of this kind for\nwhat we call the front of the house.\nThere is, by the bye, a danger which the\ncritic can help us all to avoid if he will : and\nit is this. When our impresario - a really\ngood man of business, ie the showman gets\nit into his head that he is important to the\nstage and comes on the stage and talks, let\nthe critic at least cough.\nMr. Bram Stoker was Irving's showman,\nand Mr. Bram Stoker never came on to the\nstage and talked for the simple reason that he\nwould not have dared to. He knew a lot\nabout stages, even as the director of the\nNational Gallery knows a deuced lot about\npaintings, painters and studios, but this gives\nr O\nno one a free pass to open his mouth on the\nsubject of how paintings in 1928 should be\nbegun, developed and finished.\nThis one danger to the Theatre carefully\navoided, all else should be clear sailing."}, {"page_pdf": 23, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.23", "texte": "But you must first find your twelve\nregisseurs and bring the twelve business\nassistants to them in the shape of these twelve\nimpresarios; get it clear to the latter that he\nis there to run the front of the house and to\nplay that wonderful second fiddle part without\nwhich the first fiddler never could extract\nquite so rich a sound as he does when\naided by that true friend of his, the second\nfiddler.\nGet this clear and let the work be\ndivided, and a step will have been taken in\nthe right direction.\nMr. Cochran for example would, I am\nsure, give a lead. He would set the exam-\nple of attending to his business, never con-\ncerning himself with the performers or artists\nbut preserving that first-class tradition of the\nshoemaker of sticking to his last.\nThe regisseur would never interfere with\nthe front of the house arrangements except\nthrough the instrumentality of his able assistant\nMr. Cochran.\nThe best of the old methods would\nreturn again, that cooperation between\nartist and business man. Every day these\ntwo would meet and speak of their plans\nand of how to realize them by assisting each\nother, and thus every day progress would be\nmade and made without argument, while all\nfriction would be eliminated since all respon-\nsability would rest with these tv/o whose\nsense of duty, let alone friendship, would\naim to remove ail difficulties from each other's\npath.\nThis rule of two artist as leader and\nbusiness man as faithful assistant is the\nReinhardt secret and the Stanislawsky secret.\nWith Reinhardt js Edmund Reinhardt\n■and an able staff. With Stanislawsky is\nDantchenko and an able staff.\nBut would Mr. Cochran be ready to\nrelinquish his many activities and devote his\nentire time and abilities to one thing ? ... to\none Theatre at first and after that to one\ngroup of Theatres ?\nI cannot tell. At present we see him\nas far and away the most brilliant impresario\nof Great Britain. He manages theatres,\nmusic-halls, supper rooms, boxing contests,\nactors, singers, dancers, pugilists, and did go\nin for horses.\nHe has proved that he has the genius to\nmanage anything. His reputation is world-\nwide : and it is not once but often I have\nheard it said that he is really the greatest,\nmost imaginative, impresario living. This is\nsomeone Great Britain needs as second fiddle\nat its foremost theatre.\nIt needs no one less able, that is quite\ncertain.\nBut we do not want two Cochrans (even\nif two existed) in the same theatre just as\nwe should not require two creative artists to\ntake control of the same theatre.\nThere must be only one artist and one\nbusiness man.\nSir Barry Jackson as business manager\nsupporting John Drinkwater seems to me an\nideal arrangement. These two could achieve\nwonders together.\nMr. Rea supporting Mr. Dean seemed\nalways to me to be just the thing. And 1\nlook upon Mr. Dean and Mr. Drinkwater as\ntwo of our artists and Mr. Rea and Sir\nBarry as two of our impresarios or business\nmanagers.\nIf I had space here I should like to\ndraw out a table showing which artists I\nwould select as the first twelve, which busi-\nness managers to assist them, and which\ntheatres they could control.\nBut before doing this I for one would\nfeel safer if about such a matter I first con-\nsulted with my friend C. B. Cochran.\n\nGORDON CRAIG."}, {"page_pdf": 24, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.24", "texte": "MARIONNETTES\nAND THE ENGLISH PRESS.\nC. G. E.\nIN January and in Paris the Marionnettes of\nDr. Podrecca, which had appeared in\nLondon and are called the \" Piccoli \", had\nby January 30th given fifty performances.\nWhether they gave only fifty I have not been\nable to ascertain, but it seems astounding that\nthey should be able to give so many as even\nfifty in the city where the Signoret and Se-\nraphin theatres flourished, and where the\nordinary everyday marionnettes in the Champs-\nElysees are so delightful.\nThe Continental \" Daily Mail \", a most\nexcellent publication which I miss whenever\nI come to England, speaking of this troupe's\nperformance, said : - dexterity of the\nmanipulators, combined with the talent of the\nhidden artistes who speak, and sing for the\npuppets, conveys an extraordinary illusion\nof reality \" : this being precisely the thing\nthat no good marionnettes ever do ; from this\nyou get a fair idea of the third-class thing\nthe whole show is. (Papers, please copy\nand tell the world, and don't tell them a thing\nis first-class which is not so).\nOnce upon a time \" The Mask \" took\nan infinite amount of trouble to explain what\npuppets were, why they are so lovely\npretty good in fact - and one had hoped that\nthose who read the \" Mask \" and then wrote\ntheir views in the \" Sunday Times \", in the\n\" Telegraph \" and in the \" Observer \" would\nhave seen that the trouble taken over this\nlittle but important branch of art had been\nshouldered especially for them, and that it\nwas not needed for them to more than follow\nour argument, which was a logical one, for\nthen a nice conclusion could have been arri-\nved at by all, and we should have seen the\nresult of their thoughts and feelings through\nthe \" Sunday Times \", the \" Observer \", the\n\" Morning Post the \" Telegraph \" and so\nforth.\nIf some day we of \" The Mask \" come\nto write rather differently, come to take less,\nand again still later far less trouble, and\nfinally no trouble at all, it will be your\nfaults, dear friends. you writers in the\n\" Sunday Times \", the \" Observer \", the\n\" Telegraph \", the \" Morning Post \" and so>\nforth; because we knew you had so little\ntime to give to these matters; you had to be\nalways addressing the public; and we realised\nthis : and realised too that we had so much\ntime that we went very carefully into the\nwhole matter, and we did not speak until we\nhad carefully considered and reconsidered the\nwhole subject . . . which reminds us of what\nthe \" Review of Reviews\" said about us.\nIt said \" ' The Mask ' thinks what it says\nand thinks a long time before saying it\".\nWell you don't mind us trying to be\nof some service to you, you hard-working\nmen of the daily press of London, for what\nknowledge can you have of such bothersome\nsubjects marionnettes, for example unless\nwe help you to it ?\nWhy do you go down unarmed to the\nfray, sit watching these mysteries and allow\nthem utterly to thwart you ? (I forget, but\nwhat was the story of the man who peeped;\ninto the mysteries unarmed .... torn limb\nfrom limb, 1 think, wasn't it ?)\nAnd when you write of these subtle\ntheatre things you all lie scattered down the\ncolumns of the \" Sunday Times \", \" The\nObserver \", the \" Telegraph \", the \" Morn-\ning Post \" and so on a gory rivulet of\nreal nonsense trickles from you.\nGo and read them again, those paragraphs\nin \" The Mask \", written chiefly for you, as\nto what Marionnettes are and are not; what\nacting is and what Play-writing may be,\nand you will notice that you have said the\nwrong thing over and over again.\nSo do make a bit of use of \" The Mask \"\nwhen next you go to see something worth\nwhile in a theatre and would say about it\nthe true and worth-while thing."}, {"page_pdf": 25, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.25", "texte": "journals (I m not of course speaking of those\nwho subscribe for it but of those who really\nread it) :. . and we are only talking to you\nafter all, nest-ce pas; and how can that do\nany harm ?\nHere and now we are but talking to\nMr. Brown and the other few friends ; cer-\ntainly not to Mr. Brown's wide public.\nSo, you see, we could do Mr. Brown no\nharm at all.\nBut Mr. Brown has rashly and unkindly\nwritten down a piece like \" The Circle of\nChalk \" when he might have written it up.\nHe has done this before thirty thousand\npeople or more.\nHe says that \" The effect achieved by\nMr. Basil Dean is one of decoration by\nselection \", that his work is \" a highly co-\nloured confection with song, dance, proces-\nsional rites, revolving scenery, property men\ndoing their simple business \", etc.\nAs he sits and watches he \" finds his\nappetite failing so he says, and towards\nthe end of his lively damnation of \" The\nChalk Circle \" he refers to the grouping as\n\" human sculpture at its best \".\nThis turns this Dean thing into something\nvery cheap. What is \" human sculpture \"?\nI have never heard of it before. I have\nheard of human bodies and human beings,\nbut sculpture cannot be human. Since there\nis no such thing as \" human sculpture \" how\non earth does Mr. Brown refer to it ? This\nsingle line shows me that he is searching\ntowards safe but unkind mis-statement and I\ndon't think I very much like that, because\nit's not said to a small private group ; it's a\nstatement before a vast public.\nMiss Anna May Wong has, it appears,\na voice less lovely than her face; but to\ndamn Miss Wong, her voice, Mr. Dean and\nhis show seems rather a pity, since surely\nthere cannot be very many better producers\nthan Mr. Dean, prettier ladies than Miss\nWong, nor better shows than Mr. Hammond's,\nat any rate in London.\nBut, as I said, 1 have been spending three\ntravelling through these three lands,\n-v, France, and England and I think\ni asked L nathise with Mr. Ivor Brown as\nHe Vj Miss Wong and Mr. Dean.\nAlsatians di otiCed some thousands of people\nalone he d dc jn streets of London at any\nwith Macbeth.seem to be in a bit of\nI wish I couia\n-»\nan unnecessary hurry, talking unnecessary\nphrases \" ...the old ones with new buckles...\nand they are saying these without any thought\nwhatever, any feeling whatever, no motive to\nthe parrot patter.\nThey talk on apparently conscious that\nthey are uttering sounds but no more.\nWhile this poor sort of public exists\nMr. Ivor Brown is the very man for the\njob.\nMy only defence for Mr. Ivor Brown is\nthat the Public is so inane he does right to\nplay down to it, to be inane too.\nBut Ivor Brown at his best is a first-class\ndramatic critic : fortunately he never gives\nthem his best.\n\nBRINGING THE SO-CALLED\nSTAGE TO ITS SENSES\nA LETTER TO THE EDITOR\nOF “THE MASK”\nFROM JOHN FURSE.\nThe name John Furse is the pseudonym\nwhich covers the well-known Literary Editor\nof a British daily paper.\nWe believe that \" The Mask \" Was the\nfirst to call attention to some of the points\nthat Mr. Furse makes in his Letter. Or was\nit Mr. Gordon Craig in the English Review\nas long ago as February 1922 ? Editor.\nSIR\nOf course we are all agreed that the\ncinema can do the drama no harm. The\ncritics have summed up the position by poin-\nting out that the financial competition of the\ncinema can only drive dramatists, actors and\nproducers all stage-workers, in fact back\nto the first principles of their art, and then\nall will be well. It is about the \" first prin-\nciples \" that differences of opinion arise.\nFor Mr. Ivor Brown, for instance, by far\nthe chiefest principle concerns the importance\nof the spoken word. See that the words to\nbe spoken and the manner of speaking them\nare nothing short of first-rate and all will be"}, {"page_pdf": 26, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.26", "texte": "well with the drama, he suggests (when: cri-\nticising the old Chinese play, \" The Circle\nof Chalk \"). But Mr. Brown really knows\nas well as anyone that what is seen in the*\ntheatre has always been important. And to-\nday the public realises this more than ever,\nthough in nine out of ten London theatres\nthat is a generous reckoning if is quite im-\npossible for one's eyes to rest with pleasure\non the stage, so hideous is the production.\nSomerset Maugham's \" The Sacred f lame \"\nis a good if not a great play, so much a young-\ntheatre-goer allowed to me the other day.\n\" But, oh, the production ! \" he said. \" Really,\nI can't pretend to get from such a show half\nthe pleasure that a Pabst film gives me \". That\nwas no criticism of the stage as a medium,\nfor Pabst, after all, has been called the Gordon\nCraig of the cinema, and Gordon Craig pro-\nductions, alas, are not to be seen in the West\nEnd of London ; but it was a pointed enough\ncomment on British producers. It is not enough\nto look after the words ; they alone will not\nkeep the Jews of Shaftesbury Avenue out of\nCarey Street; the cinema has trained erstwhile\nlackadaisical theatre-goers to use their eyes in\na certain way, and after seeing Pabst's lovely\nwork on the screen they are not to be fobbed\noff with any old jumble on the stage.\nThe German and Russian cinema has gi-\nven us many lovely things. The grouping\nand lighting of such rare films as \" Faust\nand \" Waxworks \" are a delight to all but\na small fraction of intelligent cinema-goers.\nThe people who have grasped the beau-\nties of such works from their halfcrown seats\nin the cinema are ready for a Gordon Craig\nwhen they go to the guinea stalls of a theatre.\nThey ask for bread and the theatrical hacks\nof London give them stones. Certain of Ba-\nlieff's pieces and certain of Diaghilev's ballets\nare almost the only beautiful things the London\ntheatregoer sees in the year.\nBy all means workers in the theatre must\nget back to first principles. But don't let\nthem minimise the appeal of the stage to the\neye. Just because the stage producer has to\novercome certain scenic difficulties that do not\nexist for the film producer he must not for a\nmoment dream of foregoing one of his stron-\ngest cards he must not commit suicide,\nwhich is what he'd do if he listens to the\n\" literary \" people in the theatre who are\ntaking advantage of the cinema vogue to scare\nproducers into adopting their pet theories of\nthe drama. If they follow Mr Brown's hasty\nadvice they'll end not in a renascent theatre\nhut in one of those studios from which they\nbroadcast the dry bones of drama.\nA few years ago London producers blithe-\nly ignored \"\" On the Art of the Theatre\n\" Towards a New Theatre \" The Theatre\nAdvancing '* and those other epoch-marking\nworks, and were incalculably poorer artists\nfor doing so. The time is coming, some say,\nwhen they must try in their humble way to\nfollow in the footsteps of the master of the\nmodern theatre or be financially the poorer.\nWhen the purses become lighter the brains\nmay become active, and perhaps to stop the\nrot Craig himself will be brought on the\nscene. If we could be very hopeful of that\nwe'd all pray every night from now on for\nstill more theatre-goers and there are a lot\nof them - who prefer Pabst to his London\nstage competitors. For my part, I firmly be-\nlieve that \" The Theatre Advancing \" has\nan ally in cinema studios of Europe.\n\nTHE CAMBRIDGE\nSHAKESPEARE\nFOREIGN LANDS AND\nTHE RIGHT THING TO DO.\nI have been travelling around Europe lately\nand have often needed a copy of a Shake-\nspeare play; not all of them one only;\nand have never been able to find copies.\nEven in Paris in a firstclass Bookshop I\ncould find nothing I could buy for one\ncan t buy the usual Shakespeare which even\nthe booksellers apologize for stocking with,\nsaying, \" we unfortunately have no other \".\nI have had the notion this time to ask at\nevery shop I went in to for the Cambridge\nShakespeare ... No, they had not that.\nAnd what 1 want to know is, wl Q £\nWhy, when we have a big am'\nUniversity like Cambridge Uni\nwhen Bookshops are presumab\nwith that University, and bo\nreaders of Shakespeare ready"}, {"page_pdf": 27, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.27", "texte": "this muddling of things ? Why not send out\nenough copies abroad, ...to Paris, to Roma,\nto Amsterdam, Copenhagen, Bruxelles,\nHeidelberg, Weimar and other places where\none may be sure some one is going to ask\nfor a Shakespeare. Why not boom this best\nof editions.\nThis Cambridge Shakespeare is ideal. It\nis compact and the perfection of good taste :\neasily carrried in the pocket, light to hold,\nand costs six shillings net.\nThat's the trouble. In England that's not\ntoo much, but when turned into French\nfrancs or German marks or Kronen, Lire and\nGuildern with the Custom house duties added,\nit becomes too much.\nBut why not have a special little clause in\n;the agreements between nations which shall\nallow Shakespeare's works to enter all lands\nduty free, provided they are bound in paper\nonly; and then why not make a special effort\nto advertise the fact and start off with this\nwonderful Cambridge Edition ?\nlo get three million bayonets special\nefforts are made : to get half a million copies\nof Shakespeare spread around the world no\neffort is made ; ...a wrong thing... don't you\nthink it's wrong ?\nCambridge should make the first move.\nPresuming that University to be well sup-\nported by the nation's purse, and its Press\nendowed, it need not make profit but just\nto get the thing done would be such a feather\nin its cap.\nWhy be shy ? Why gulp up three\nhundred arguments, all sound yet senseless,\nto prove that it's not possible ...really not\npossible ?\nFor it's not only possible : it seems to be\nthe right thing to do.\n\nON CREATING AND\nDESTROYING\nA NOTE ON LAMBRANZI AND\nHIS BOOK OF DANCES\n\n\\¥/E give as our Frontispiece this quarter\none of the designs from Lambranzi's\n\" Nuova e Curiosa Scuola di Balli Teatrali\nwhich appeared in 1716. In this dance ... a\nRaguadon . . . Harlequin is playing the joke\nthat Launcelot Gobbo plays on his father Old\nGobbo in Shakes peare's \" Merchant of\nVenice \". Old Gobbo is also blind, and brin«\nging eggs or something to market in a basket.\nLambranzi has always puzzled \" The\nMask \" since it first heard his name ; and\nwhen in 1923 it published a design from\nLambranzi's book which was, we believe,\nthe very first to appear in any English publi-\ncation, it made no pretence that it could inform\nits readers about the author, the book, the\ndesigner or anything at all.\nNow Mr. Beaumont, .... Mr. Cyril Beau-\nmont the writer and historian of the Theatre\nand Mr. Beaumont the publisher of 75 Charing\nCross Road, .... have together, in their dual\nyet united individuality, brought out a reprint\nof the work with the illustrations all in order\nand handsomely reproduced, and only six\nyears after \" The Mask \" called attention to\nthe existence of Lambranzi and his book.\nHow slowly \" The Mask\" moves, you\nthink, it's wonders to perform. We rather\nthink that six years is a bit rapid.\nThere is a certain theatre person in Lon-\ndon who breaks his word and whom for that\nwe intend shortly to damn for a weak-kneed\nnobody: but he can't possibly be extermi-\nnated by that so suddenly that you witness\nany theatrical, any immediate catastrophe:\nhe will hang on for quite three or four years (,).\n\n(1) Now don't all rush to try on the cap, although quite a few\nof you have been so very unreliable, to say the least of it."}, {"page_pdf": 28, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.28", "texte": "Yes, we kill quicker than we can create.\nBeaumonts and Lambranzis are not easy\nto create, whereas Joneses, Smythes and\nRubinsohns puff out pretty easily.\nTo do this without care or thought, to\nwi Idly create or as wantonly destroy, would\nbe on our part to sink journalism to the level\nof the \" Daily Bubble \".\nWe have ever been proud since we\nbegan in \" The Mash. \" work in 1907 to do as\nwell as possible with our little journal in\nthe honourable field of journalism ...and we\nbelieve that here and there, in and around\n\" The Mask ' are to be found some original\nnice touches unique in journalism.\nThe Review of Reviews \", in saying\nThe Mask thinks what it says and thinks\na long time before saying it \", pays a compli-\nment we are happy to fancy we have earned\nand we are thinking long before we decide\nto kill or mutilate any Joneses Smythes or Ru-\nbinsohns.\n\nJ. S.\n\nTHE AMPHITHEATRE\nAT ARLES\nAND \"THE MASK'S” NOTION\nOF GOOD SENSE\nJ. S.\nHERE on Plate 5 we see it as it was\nbuilt by the Romans, when they founded\nin about B. C. 99 their first colony at Aries,\nand on Plate 6 we see it after it had been\nunbuilt by the Middle Ages, and made useful\nat last. In that year, 1666, when M. Jacques\nPeytret comes to take its photograph and\nreally he has done that and magnificently too\nby 1666 the place is like a perfect walled\ntowm or like an apple dumpling where the\napple has popped into the dumpling, goodness\nknows how.\nThere is a rare volume entitled Descrip-\ntion | des Arenes ou | de l'Amphitheatre |\nd'Aries | par le Pere Joseph Gois Prestre de\nl'oratoire de Jesus | etc. MDCLXV.\nIt is a renowned work and is devoted\nentirely to this Amphitheatre of Aries, and\ntherein I found these two folding plates and\nthought to reproduce them for you full size.\nI hope none of you find \" The Mask \"\ngrowing at all * niggardly it wishes to be as\nample, as generous as possible ; but the truth\nis that that millionaire we were looking for\nin 1908 that famous man for whom every\nartist, every inventor, every performer and\nevery other silly fool is always looking\nthat millionaire who, when you find him,\nputs the fear of Hell into you with his awful\ntalk, etcetera, misinterpreting the uses of the\nbit of money he is cursed with .... has never\nyet come along.\nSo rely on us in future to give you more\nthan any millionaire will ever give us - any-\nthing else would be unthinkable for when\nthe poor gives to the rich the Devil laughs\nbut we can't help that.\nWe may some day have to eat these\nwords for this legend about the dull per-\nceptions of millionaires, their dull senses may\nbe all but a legend, may be a lie. Out of\nthree hundred of them there may be one who\nis fool enough to risk a disappointment\nthere may be one ready to feel silly for ha-\nving sent \" The Mask \" an anoymous cheque\nfo £ 5000 or £ 1000 put it as low as\n£ 100. Yes, that would assuredly cause a\ngood sensible millionaire with no nonsense\nabout him to shudder and feel dazed.\n\" The Mask \" as you know is run and\nhas been run on next to nothing and without\none penny of profit for twenty years, merely\nso as to keep the flag flving, you know\ndarned silly.\nAnd now we want to keep it up. to its\nmark and fill it with good things unobtainable\nelsewhere. Ought we oughtn't we to do\nit ? is it, we ask, sensible ?"}, {"page_pdf": 29, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.29", "texte": "WHAT ABOUT IT?\n\nThe report that Mr. Gordon Craig had\nmade an alliance with an Englishman in\nLondon and was about to produce Hamlet,\nif not in German, then in English, and then\nMacbeth after that What about it ?.\nWELL, what about it?\" Mr. Craig\n* went on drawing, while from his gra-\nmophone (an inseparable companion; it seems)\ncame the words, \" Oh, don't be like that!\n\" Do you like this miracle of the age\nthis shallow box which only measures twelve\ninches by twelve-and-a-half inches yet from\nwhich comes out all the best and worst music\nof the world and all for two pounds?... Discs\nrecord about 2/6 each? Well, what\nabout it ? \", Mr. Craig went on more serious-\nly, turning off the music and so creating a\nstrange sense of silence - not to say of relief.\nI had asked him, what it meant this\nreport of an agreement to produce plays in\nLondon.\n\" But I have dozens of such ' agreements'\nif by that you mean proposals, offers even \",\nand he looked as if he meant to go off into\none of his bursts of merriment; \" even ' pro-\nmises in inverted commas \" given word\",\ndon't you know ? What do you call it when\nsomeone tells you he'll do something? Well,\ni m always hearing from people who'll do\nsomething, so this London affair is really\nnothing but one of the usual little back-slidings.\nI even forget who it was this time that gave\nme his word \".\nDid he really promise a production ? \"\n1 asked breathlessly.\nHe did, and Hamlet too. If the\nAlsatians didn't do it, then he would do it,\nalone he'd do it boy, and he'd follow it\nwith Macbeth. He Was a funny fellow. And\nI wish I could remember his name, because\nhe even let me know that he had lots of\nmoney behind him to do it with \".\n\" He was a rather nervous person which\naccounts for his not quite knowing what he\nwas talking about. Money he couldn't have\nhad, or it's not his own and may at any mo-\nment be switched away from him, so what's\nits value ? A man, to do anything worth\nwhile, must do it off his own bat.\n\" Oh yes, he outlined a scheme which\nseemed a fairly good scheme for establishing\na sound theatre in London it seemed a\ngoodish scheme to me, because it was the\none 1 had proposed in print somewhere back\nin 1912-13, and he had actually remembered\nit. This being 1929, it also seemed to me\na little old-fashioned, but probably well abreast\nof the times for this enthusiast I do wish\nI could remember his name \", and Mr. Craig\nwent to the door of his studio and, calling\nout to his assistants who work on the floor\nbelow—,\n\" ... Tell me!... What was the chap who\nplayed me the usual trick the London\nchap ? \"\nA fountain of sound swept up in reply.\nI caught at least thirty names, all bobbing\nup and down in a bubble of laughter. Then\na final, small, voice piped, \" Was it Mr.\nSmythe ? \"\nAt which Mr. Craig, thoroughly delighted\nto remember, coughed and said, \" How many\nthere are to-day on the swindle in the London\ntheatre world \", as he quietly closed the door\nand returned to me and to more serious talk.\n\" Quite seriously \", he said \" I do forget\nthese fellows because to remember a trick-\nster is to remember his trick and that's\nnot fair on the theatre. I prefer to forget it\nand him \".\n\" But you were going to produce Hamlet\nand Macbeth in London you say -\n\"Yes, and I am still going to do both at\nthe first opportunity \".\n\" When, and with whom ? \"\n\" When I can't say. With whom I can.\nWith some sound actors and myself. No\npartnership is possible with any but these.\nYou recall St Just's saying, Confidence is\nworthless when shared with worthless men.\nSo all I need is a few fine actors and actres-\nses and there are more to-day than there\nwere five years ago the younger people are\nremarkable \"."}, {"page_pdf": 30, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.30", "texte": "\" But you will have your theatre in Lon-\ndon ? \"\n\" I can't possibly say. But I may ask\nwhy not ? Has \" that Mr. Sniythe got hold\nof all of them ? Isn't there one left over in\nthe north, the east, or the south ? By the\nway, it's odd, talking of Smythe, did you\never hear of Robinson ?\n\" Why, of course \", I said, \" What of\nhim ? What about him\n\"Nothing, only its old Rubinsohn again ,\nand Mr. Craig chuckled as though he had\nreally made a discovery \".\n\" And don't you like the Jewish invasion\nof the theatre ?\" I asked.\n\" Fact is \", he replied, \" I was a rabid\nanti-semite once, and it was only when I dis-\ncovered that all the best men I know were\nJews, though I'd taken them for years for de-\nvout Christians, that I witheld my hand and\nceased my destructive work. \" No more mas-\nsacre of the innocent ones for me \", 1 said\nto myself. I can't believe that these, my\nJewish friends, are rapacious, cruel, lying,\nhideous, and without souls, for they are kind-\nness itself to me and seem to be all that s\nlovely though I secretly hope that they are\nthe other thing now and again \".\n\" But what has all this to do with the\ntheatre ? he stopped suddenly and asked.\n\" Jews bring us their talent, and take very\nlittle. What do they take ? Now what do\nthey really take ? Our money ? On the\ncontrary, they even bring us some of that\nmore than they take \".\n\" It's the Christian who takes all from the\nstage the Christian disguised as a Jew so\nthat he shall get back into Scotland unnoticed.\nThe Christian who works the stage for what\nit is worth is a good fellow too in his cruel\nway he's rather hard on some of the Jews\nbut he's not as intelligent as Ike \".\nListen to this \", and Craig has turned\non the immortal (to me infernal) \" I can't\ngive you anything but love \".\nDon't you like it ? \" he said, beaming\nat me.\nFrankly, I don't \" I said a bit sharply.\nCraig looked positively hurt. \" But its\nmodern \", he said. \" it's the thing the boys\nand girls love. They begin dancing when\nthey hear the band striking up with this. In\nthe Cafe Royal, I heard it and I asked, ' What's\nthat tune ? It's sweet ? '; they told me but I for-\ngot all about it, till at the Cafe Angleterre,\nin Paris, I heard it again. \" What s that\nthey are playing ?\" Next day, 1 bought a\nrecord for my Pathe Twin. So tnat when\nI got to Copenhagen, two months later, and\nSignor Gilio Oerola struck up this piece,\nplaying it as it ought to be played, I knew\nall about it. And now you tell me you don't\nlike it. You're out of touch with to-day.\nYou're prejudiced and rather feehngless .\nAs Mr Craig went on hurling all sorts\nof unkind things at me because I hated\nthis modern tune, I began to realise what it\nwas people quarrelled with him about. It\nreally resolves itself into this they hate\nhim for speaking the truth. He laughs while\ndoing so, but it stings all the same.\nDetermined to try to get at him, 1 ventured\non, \" Why do you antagonize everyone, Mr\nCraig ? \"\n\" Do I ? \" he asked.\n\" You certainly do \", I replied.\n\" How do I do it ? \" he asked and\nhe was quite sincere in his query I could\nfeel it.\n*' Why, you hurt people \".\n\"I ? \" he cried, half bellowing it, half\nwhispering it.\n\"Yes why, you hurt me over this\nsilly tune \".\n\" But it's not a silly tune and if you're\ncruel to the writer of it, and speak of what\nI like unkindly of course I'll defend him and\nit and in doing so I may hurt you or ra-\nther this is truer you may get hurt \".\n\" But I don't hurt people who haven't first\nstabbed me or someone I like or something\nI like Never!\" And his voice had the\nold, Ellen Terry ring in it.\nHearing it I knew him to be speaking\ntrue.\n\" But would you not bring all your pro-\njects to flower if you were dare I say it\nmore tacful ? \"\n\" Oh, you seer ! \" he cried at once, \" You\nare terrible in your discernment terrible! \"\nAnd he began to laugh again.\n\" Yes, I could have brought twenty little\nschemes to flower, as you say, by the sneak-\ning use of that degenerate thing called tact.\nBut I have brought my idea to flower just\nbecause I didn't use tact. Which is worth\nmost, an idea or twenty little schemes ? Well,\nnow that the idea has flowered, the fruit will"}, {"page_pdf": 31, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.31", "texte": "be ripe quite soon. But I hold the ladder\nto the fruit, and there's not a soul can scale\nthat tree unless I wish it. Any offers ?\nand Mr Craig turned on Chopin's Etude\nin G sharp minor.\n\" Whenever I hear that piece,\" said he,\n\" 1 am reminded somehow of the most se-\nrious things that have ever been said. It's\nsomething which stops me talking and doing\nanything. Ail I can do is to say to myself,\nSo it is . . . the deaths of dear friends\nand of those who have to die, of our own\npassing all is in that piece, not gloomily\nsaid, but said all the same. And as nearly\nall my friends have been artists, and those\nwho have died have all of them died with\ntheir best work unwritten, unacted, and un-\nbuilt, their dearest schemes unsupported and\nthereby uncreated unborn, it is a very grave\npiece of music to me. You who come here\nto ask me questions, will you answer one\nquestion for me ? \"\n\" 1 will try \", I answered, feeling a little\nnervous at once.\nThere was a very long pause and then,\n\" What is the time ? \" he asked.\n\" Five minutes to one \", 1 said, quickly\nlooking at my wrist watch and happy that 1\nhad got off so easily.\n\" It's no such thmg\", he replied. \" It's\nfive minutes past Mussolini and for\nthis reason time for Europe to wake up and\nstop killing every worth-while idea. \"\nIt was perfectly plain to me as I walked\nback to the Principe Station in Genova that\nGordon Craig must have his theatres, schools,\njournals, and the rest given him by some\nwoman rich enough to appreciate them and\nhim for no man could possibly be so sensible.\nI'm a woman myself.\n\nLoïs Lincoln.\n\nTHE DEVICE OF THE\nACCADEMIA NUOVA\nPADOVA"}, {"page_pdf": 32, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.32", "texte": "THE\nTHEATRE\nIS\nIRRESISTIBLE:\nORGANIZE\nTHE\nTHEATRE\nMATTHEW ARNOLD"}, {"page_pdf": 33, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.33", "texte": "GRAMOPHONISM.\nD. P.\n44 TO BE EASIER PLAYED ON THAN A PIPE \".\nShakespeare.\nIT has of course occurred to you why Waldteufel became\nso popular fifty years ago. You heard him where ?\nOn organs, at concerts, at balls, may be fairly often ; but\nhe only become intensely popular when he was played\nin the circus for horses to prance to and in restaurants\nfor the dishes to enter to and to exit with.\n%\nWHAT a voice - lovely and ridiculous, and with no\nsmall talent for singing a song ; touching, and as\noriginal as she is ridiculous. So is Miss Kane.\nThe best thing of hers I have heard recorded on the\nGramophone is 44 Don't be like thatH. M. V.; B.\n2977.\nA grand record, also H. M. V., is the Concerto for\ntwo violins in E. Minor, Bach, played by Kreisler and\nZimbalist. D. B. 587 and 560.\nOn the reverse of 588 we have Tchaikovsky's An-\ndante cantabile Op. 1 1 perfectly played by Kreisler and\nsurely recorded by the Gramophone Company as perfectly.\nA big chasm separates Bach and Tchaikovsky with\nKreisler from little Miss Kane.\nBut what a blessing that every chasm has its two sides\nand sometimes more.\nHELEN Kane is a queer being she sings in Ame-\nrica she'll soon be singing all over the shop. By\nthe way, I suggest that that old song which made Little\nTich famous would suit Little Helen Kane ; she's quite\nlittle too, I'm told.\nI mean the song in which come the lines :—-\nPut me in my little bed\nSure to fall out on my head\nIn one place\nI never could stop\nI Was here there every where\nAll over the shop.\nShe would do it famously.\nBut she has made herself famous already after the\nusual years of uphill drudgery by singing 44 That's my\nweakness now \". And listening to her on the Gramophone\nsoon reveals a number of good things.\nBut she is stilted the machinery show's a little too\nclearly : that incessant lingering on the 44 but \" which ends\nthe second line of each verse is tedious, and the other\nsudden stops ; and while Miss Kane is amongst the best\nsingers in giving out word for word as clearly as words\nshould sound, she is a bit behind the very best in not\nhiding how she does it.\nThe same afternoon as I listened to Miss Kane I was\nlistening to Paderewsky play a well known Etude by Cho-\npin I had never heard him before.\nPaderewsky in playing is as precise as any music\nteacher in a girls' school would require he plays according\nto the rules, note for note clearly struck; but he hides\nit all in the most perfect manner with perfect manners.\nThis it is which makes him Paderewsky.\nAnd it is this Miss Kane has to learn.\nSome comedians have the art, and she should study\nhow they smooth the rough edges.\nMiss Kane has some tones in her voice which every-\none must love because they are so lovely but that\nis her heritage : she won't need to be told that can t be\nlost; but she does need to be told that, since she has some\nart in her and a good deal of technical skill, she needs\nnow only to use her commonsense and not exaggerate,\nnot listen to advice from men and women who hang\naround theatres, gramophone studios or talkies, but\nstop and think for herself train herself a little by lis-\ntening to a few Paderewsky and Kreisler records, by\nreading a good deal, and by studying the finest low co-\nmedians of the age the quietest.\nBut for all this some of this song reveals lovely things\nand I don't wish to seem ungrateful, especially that out-\nburst at the beginning 44 Love Love Love Love \".\nThen the 4£ oh my oh me \", and the fall in the\nvoice and the 44 Weakness now \" and the 44 oh let it rain\n... let it pour \".\nNothing lovelier has been heard for years.\nOh these comedians and comediennes. Think of\nYvette, of Bert Williams, of the dancer, ...I forget his\nname... who danced like water flowing in 44 Black\nBirds \", Cochran's review ; of Petrolini; ...it is these co-\nmic people who are such great artistes, who almost save\nthe legitimate stage as it lumbers along to perdition\nor worse.... to nothing.\n\nCORRESPONDENCE\n\nDESIGNS FOR “MACBETH”\nGORDON CRAIG.\nMY dear Semar,\nIt's not that I don't want to send you some of the\noriginal sketches for Macbeth to reproduce in the Quarterly\n44 Mask it's only that I can't get at them.\nThey are in Genova, packed away ; I am not yet\narrived there*. So your rivals 44 The Theatre Arts\nMonthly \" and the 44 Littlehampton Theatre Gazette \" and\nthe other twenty or thirty offspring of 44 The Mask \" must\nall be allowed to show off my designs in their pages\nbefore 44 The Mask\" may: that's quite as it should be:\nas it always is, was and ever will be.\nDon't let that fash you.\nI shall send you before long some designs which\nhave appeared in no other journal : perhaps one or two\nfor Macbeth which I didn't send over to America.\nYours sincerely"}, {"page_pdf": 34, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.34", "texte": "BOOK REVIEWS.\n\nBYRON, THE LAST JOURNEY,\nby Harold Nicolson. Constable & Co.\nPrice 7/6, (new edition).\nMEET MR. MULLINER, by P.\nG. Wodehouse. Tauchnitz Edition.\nLeipzig. Price / Mark 80.\nBOOKS are expensive things.\nIt is not of the publishers I would\ncomplain their item of the whole\nbill is only trifling : ... it's the authors\nwho are so costly.\nBooks are expensive things to take\nout to supper.\nI had with me last night Milord\nByron, Mr. Nicolson and Mr. P. G.\nWodehouse and you can't take them\nto any but the best restaurant in the\ntown it can't be done. And once\nthere it has to be a swagger supper.\nThere they are all together and\npossibly for the one and only time with\nme, and all such good company, be-\nsides being authors who agree in all\nessentials.\nThat's how it becomes so expensive.\nNicolson I had never met before,\nWodehouse often, Milord over and\nover again. 1 never felt that I got\nMilord wrong, ...I always seemed to\nsee him and through him, and so it\nwas to me a perfectly delightful\nevening to find Nicolson knew him\neven as well as I did. Wodehouse\nmerely entertained us all ...Milord\nwas in fits over his 44Came the Dawn\"\n44 Came the Dawn \" was the catch-\nword of the evening. 44 Yes Came\nthe dawn \" said Byron coldly with a\nmost divine look on his face, and then\nhe looked bang at Wodehouse.\n44 What a lark \" some unseen spirit\nseemed to be humming in the room as\nthe violins played and what a joy\nit really was.\nI all alone, and Lord 8., Nicol-\nson and P. G. W. with me.\nI let the bill run up : would it\ncould have been quadrupled, I read\nsome. of each of them ; the marvellous\n44 then throw Mr. Mulliner out\"\nthe delicious 44 It was already dark\nwhen Lord and Lady Blessington ar-\nrived at Genoa \" ; the illuminating 44 of\nall the peculiarities of B. his laugh is\nthat of which I have the most distinct\nrecollection \" : but that's by Hob-\nhouse— our dear, very dear Hobhouse,\nbut the fact recorded is of our great, I\nthink I will say, our very great Mi-\nlord—the poet Byron.\nI could no more 44 review ' ' Mr.\nHarold Nicolson's work after our jolly\nevening together than I could review\nhis face, his way, his walk. These\nthings are altogether beyond cold-brain-\ned reviewing.\nHe knows his Byron better than\nanyone else knows him and does\nhim all honour.\nHe has written perfectly about him\nin this 44 The last Journey, 1823-24\".\nHow often he has sat with him and\nwatched him so as to get under his skin,\nto know the real man so well that he\ncould afford to report lots of the rub-\nbish about him for the sake of the\neffects, need but be supposed, as you\nread these delicious pages.\nThe only thing which astounded,\nshocked, scandalized and puzzled eve-\nryone almost all about Lord\nByron was that he was such an ordi-\nnary human being. 44 The poetry is\nall thrown in\" he says: 44My poetry\ndon't speak of that that's done or\nto be done and there it is 44 skip\nyour dear uncle \" I beg; but I am\nworth a look, a glance, solely because\nI am just a plain ordinary human\nbeing and you, after all due apologies\nand affectionate hesitations, damme,\nqueer and most eccentric people \".\nThis is what Lord Byron seems\nto say under his breath, annd we may\nsafely add aloud 44 You who looked\nat him, judged, approved and disappro-\nved were - certainly not much to write\nhome about You were eccentric\nand a bit mad all of you ; he sane\n....essentially balanced. He human,\nyou all of you any how inhuman;\nhe himself ...he a 44 blood, bone, mar-\nrow, feeling \" fellow ; you appallingly\nhard, frightened and not yourselves..\nLike Lady Blessington, you mud-\ndled yourselves about him by confu-\nsing him in your thoughts with his\nheroes and villains. Like Mrs. Hunt,\nyou even tried to be 4 clever ' with\nhim to his embarassment.\nYes, you could embarass him, but\nyou could never get him to be clever\nwith you. There are limits and\na joke always is a joke.\nMr. Wodehouse is the kind of\nman, artist and writer who doesn't mind\nbeing passed over when Lord Byron\nis present (one doesn't forget him\neither) but who would have cause\nto object if any lesser man queered his\npitch.\nIt would be hard for most writers\nto do that. Mr. Wodehouse has just\nthe same Byronic swing.\nEase, and ability to top himself\nwhen he's at his best, and we think\nhe can't do better than in his stories\nabout 44 Mr Mulliner \" which are the\nstories I am on to now.\nI like to say I bought his book.\n44 The Bishop's Move \", one of the nine\ntales in his 44 Meet Mr Mulliner \", how\nawfully good ; impossible to do it\nbetter.\nHis sense of farce is perfect and\nhe carries farce to the very brink of\nits possibilities and never wavers for an\ninstant.\nA dangerous delightful experience\nit is to enjoy this author when he is\non the war-path.\n44 Tell him we are a couple of\ncats belonging to the cook* the Bishop\nwhispered \" ; .... I see Lord Byron\nconvulsed.\n\nSHAKESPEARE IN SERBIA by\nVladeta Popovic. Humphrey Milford\nOxford University Press. Price\n10/6 net.\nTHIS book, published by the Oxford\nUniversity Press for the Shake-\nspeare Association, throws much light\non the growth of interest in Shakespeare\nin Serbia, on the history of the trans-\nlations of Shakespeare into Serbian,,\nwith critical examination of these, and\non the Serbian attitude towards\nShakespeare, the whole being com-\npleted by a Bibliography giving the\ndates and translators of the various\nplays, a list of Serbian essays on\nShakespeare, and a further list of\nprincipal works bearing on the subject\nof the thesis.\nMr. Popovic, in his Foreword,\nrefers to two previous works on the\nsubject of Shakespeare in Serbia by\ntwo eminent Serbian critics and literary\nhistorians: the late J. Skerlic, whose\nbook, published in 1906, dwells chiefly\non the years 1856 to 1868, and\nProfessor Pavle Popovic, who, in his\narticle in English, 44 Shakespeare in\nSerbia \" in 44 A Book of Homage to\nShakespeare gives a wider survey of\nthe subject, enumerating the translated\nplays of Shakespeare in Serbian,\nCroatian, and Slovenian literature, and\nsome essays and articles written about\nthe poet and his works. 4 4 Their\nv/ritings \", he adds, 44 have served as\na starting-point in my research on the\ngrowth of interest in Shakespeare im\nSerbia \"."}, {"page_pdf": 35, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.35", "texte": "Mr. Popovic also explains that by\n44 Shakespeare in Serbia\" he means\nhere 44 Shakespeare among the Serbs,\n44 both those who before 1918 were\n44 under Austrian rule, and those who\n44 had their own kingdom. Although\n44 politically separated before 1918,\n44 their literature has always been one\nMr. Popovic's work, which was\naccepted as a thesis for the Degree of\nDoctor of Philosophy in the University\nof London in 1925, is a valuable\ncontribution to the books treating of\nthe works of Shakespeare in other\nlands, of which Dr. Lacy Collinson Mor-\nley's study on Shakespeare in Italy, (I)\nwas an outstanding example.\nThe present volume proves that in\nSerbia Shakespeare has found an en-\nthusiastic public.\nWhen the plays were first introduced\ninto the country a national conscious-\nness had but recently awakened in\nthe Serbs, and the translations of the\nEnglish dramatist aided them towards\nan appreciation of the beauty and\nforce of their own mother-tongue,\npreviously despised as the language of\nthe vulgar, but which now seemed, as a\nmedium for the transmission to them\nof these great plays, to assume a new\npower and dignity.\nPrevious to 1813, Mr. Popovic\ntells us, the only performances of plays\nin Serbian were given in schools, but\nalready in that year public perfor-\nmances had been given in Budapest\nby and for the Serbians living there,\nand in 1861 the National Theatre\nwas founded in Novi Sad. And\naround this theatre, in 1864, 44 the\nfirst group of admirers of Shakespeare\nwas gathered to celebrate the tercen-\ntenary of his birth \".\nIn 1869 the National Theatre was\nfounded in Belgrade, and from that\ntime there has been a steady progress\nin play-writing and theatrical production.\nIt was in 1859 that the first fragment\nof 44 Romeo and Juliet \" appeared in\nSerbian, five of Schiller's plays and\none of Voltaire's having been previously\ntranslated, while translations followed\nfrom Goethe in 1864, Corneille in\n1871, Sophocles in 1872, Moliere in\n1879, /Eschylus and Racine in 1885\nand Ibsen in 1891. But Mr. Popovic\nemphasizes the fact that 44 no one of\nthese dramatists has been so much and\nso many times translated as Shake-\nspeare, not one of them so often\nproduced \", for the Serbs, as well as\nthe Croats and Slovenes, 44 have a\ngenuine love of Shakespeare \".\nRelatively speaking, in fact, the\ninterest at present manifested in\nShakespeare in Serbia is at least as\ngreat as in England, .... which, if to\nthe credit of Serbia, is little to the\ncredit of England, so lethargic and\nhalf-hearted in regard to its great\ndramatist.\nThe Belgrade National Theatre\ngives frequent and 44 very ambitiously\nproduced productions \" of Shakespeare,\nto which as many spectators throng as\ncan find place ; in fact Shakespeare\nin Serbia is played to full houses;\nand, although we may grasp to some\nextent the significance of this, the true\nappreciation of the endeavours of the\nSerbs 44 to participate in the world-\npossession of Shakespeare \" is, as\nMr. Popovic reminds us, 44 possible\nonly when the circumstances of their\npolitical history and the development\nof their literature are taken into ac-\ncount \".\nBut what can England offer 44 to\nbe taken into account \" as condoning\nits apathy in regard to these plays\nwhich are part ....and a most superb\nand vital part ....of their great inheri-\ntance as Englishmen ?\n(1) Reviewed in ** The Mask '* Vol. XIV,\nNo. 2.\n\nTO THE PURE ...by Morris\nL. Ernest and William Seagle.\nViking Press. New York. Price\n$ 3.00.\nA NOTHER book presenting the case\n** against the censorship.\nIt appears at a moment when Eng-\nland is interested in young ladies\nwho write books about a part of life\n(and which they take for the whole of it,\nsince it is the part known best to them).\nWho is there but must have entire\nsympathy with these young ladies... who\nbut sees that their sincerity is genuine.\nIt is not wrong to censor these\nbooks but it's not too kind to encourage\nyoung ladies to write them. It is\nthat half-Hedged public which takes\nthe part for the whole which encou-\nrages these young writers to write and\nbe damned.\nMiss James's 44 The Sleeveless Er-\nrand \" and Miss Radcliffe Hall's\n4 4 The Well of Loneliness \" may or\nnot be censurable, but what is censu-\nrable is the inability of the censor to\ncontrol the public. Copies get out\nand wander round from pure person to\npure person.\nThey don't want Mr. Morris L.\nErnest's help even though Mr. Seagle\nhas helped Mr. Ernest.\nThey and I want what we mustn't\nhave....\n.... And You\n\nMR. JARDYNE by Gwen John.\nBasil Blackwell. Oxford. Price\nIj~ net.\nMISS JOHN'S very small play which\nshe calls 44 A mystery\" is, like\nall her work, delicate and with an\nidea in it.\nIt would need very good actors to\nget this idea across the footlights.\nActed in Liverpool at The Playhouse\nin 1925, it probably did get across,\nand the playlet is still in that Thea-\ntre's repertory.\nMiss John could write a fine big\nplay, I mean a good bit of a play,\nif she liked. lam prejudiced entirely\nin my attitude towards Miss John.\nLet her watch Augustus slapping it\nin on his canvasses and then let her\nbegin to slap away with the inkpot.\nTo be able to be so delicate is love-\nly : all is possible:—and now all\nshe needs is to 44 fling along Sambo \".\n\nBOHEMIAN. LITERARY AND\nSOCIAL LIFE IN PARIS by Sisley\nHuddleston. Harrap. Price 21 j- net.\nMR. Huddleston is qualified to give\nus a book about the life and\npersonalities of Bohemian and literary\nand social Paris because, as he says,\n44 Many busy and not unsuccessful\nyears have been spent in Paris in the\ncompany of artists and authors, minis-\nters and ambassadors, actors and jour-\nnalists and social personages of all kinds,\nBohemian and academic ; and I have\na wealth of memories \".\nAll that is a good preparation for\nwriting an entertaining book, and Mr.\nHuddleston has written one, full of\nfacts and information in 442 well filled\npages.\nHe offers vivid little pictures of scores\nof the great and the small personalities,\nof the Paris of the latter part of the\n19th and first quarter of the 20th cen-\ntury, and he has far from exhausted\nhimself in this one volume, for he de-\nclares that 44 in selecting the material\nfor the present Parisian Nights Enter-\ntainment I have remembered many\nother things ... and since, like Schehe-\nrazade, I must go on story-telling, there\nis a long vista of other Parisian Nights\nEntertainments ahead \".\nMeantime he has given us plenty to\ncarry on with, ...memories of Sarah\nBernhardt and Anatole France, of\nMme. Rejane, and Yvette Guiibert,\nof Matisse, Monet, Picasso, Rodin,\nAndre Maurois, Mme. Curie, Marcel\nProust, Loie Fuller, George Moore,\nJames Joyce, Gertrude Stein, Augustus\nJohn, Isadora Duncan and many more."}, {"page_pdf": 36, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.36", "texte": "He writes of the studios and the\ncafes and bars, of the cabarets and\nsalons, the bookshops and clubs ; of\nthe day world and the night world,\nthe world of work and the world of\nplay. And he moves through it all\nwith geniality and kindliness, with in-\ntelligence and tolerance and good\nmanners.\nTo Isadora Duncan he devotes a\nchapter under the title of 44 The Tra-\ngedy of a Dancer \", and he spreads\nthe apochryphal account given by some\none obviously not Miss Duncan of the\nway in which she introduced Gordon\nCraig to Madame Duse.\nI look forward to that further series\nof sketches of what the author calls44 the\nvariegated cosmopolitan Paris ' ...\n44 a curious kaleidoscopic Paris that\nhas changed its morals and its manners\nin this our Cocktail Epoch \" such as\nhe evidently holds in store.\nBut who can be 44 the great Italian\nactor Soldini \" on page 429 ? I sup-\npose I take it he was great,\nbut who was he ?\nAnatole France, I take it now,\nwas a bit of a fool. It is the first\ntime I ever read anything about him.\nSee how misleading good, jolly\ngood, spanking fine, chatty books like\nthis one can be. And if that is not the\nfinest good reason for such books\ntheir best excuse to fool the people\nwho don't know, then some one must\nbe at pains to explain what is their\nreason for existence.\n\nTHE ELIZABETHAN JIQ; and\nrelated Song Drama by Charles Read\nBaskervill. University of Chicago\nPress & Oxford University Press.\nPrice 22/6 net.\nLORY be to Charles Read Basker-\nvill, here is a book from which\nthe words Commedia dell'Arte are\nexcluded. Yet it's all about the Jig\nand the stage and the gay times of\nEliza. And about Picklehering too.\nGood egg good Charles Read\nBaskervill, praise be to him not to\nhave uttered the now so popular shib-\nboleth, the Commedia dell'Arte. He\nwas quite safe he felt, he could pass\nalong without it.\n369 pages all about the Jig ; and\nabout 200 more filled with queer songs,\namongst them the interesting 44 Singing\nSimpkin \" which is but another version\nof old Hans Sach's playlet which is\nbut a blithe tale from the 44 Decame-\nrone \".\nBut why is not old Sachs men-\ntioned as having done a version ? eve-\nryone else who had a shot at it is.\nIt's the old tale of the man in the chest\nand the adroit woman and the swagger-\ning soldier and not so stupid husband.\nSeveral old tunes are recorded.\nQuite a bit of a book and all about\nJigs:—\n\" O' my dainty Cavalilly man,\nMy finnikin Cavalilly man,\nFor God's cause and the Protestants,\nI prithee le' me gang with thee, man \".\nShe means Cavalier man, but she\nof the 16th century was no less dri-\nveling when she liked than any other.\n\nTHE FANFROLICO PRESS.\nTHE FANFROLICO PRESS\" of\n5 Bloomsbury Square produ-\nces a lot of big books and some small\nones, and seems to be making a very\ngreat success of it.\nOne especially nice little piece of\nprinting is the 3/6 d. book on William\nBlake. Another good piece is the\n4 4 Parlement of Prattlers\", which is\nthe first reprint of the old and little\nknown volume of 1 593. This is pub-\nlished at 15/-.\nHow these small books can be\nbrought out at so small a figure is\nwhat surprises us.\nThe two volumes on Beddoes are\namong the most interesting that this\nPress has issued. This work is pre-\nfaced by an essay written by Sir\nEdmund Gosse shortly before his death.\n\nART AND R ÜBRISH .\nWE hate destruction; even the\nwholesale destruction, of mo-\ndern Art and Artists, is distasteful to\nus; so we mean well under this grave\ntemptation when we turn and render\none smile of affectionate respect to the\nshade of the scene-painter William\nLloyd who on February 7, 1845, in a\nsudden flare of illumination - as by\ninstinct on to the right track for a mo-\nment hurled a heavy bit of basalt\nat that idiocy of all art and craft 44 The\nPortland Vase \" as it sat there irritating\nhim in a glass case at the British Museum.\nHe was fined £ 3 and the vase was\nput together again by a drudge called\nDoubleday who contrived to hide ail the\njoins; —in over a hundred and twenty\npieces had Portland's vase fallen\nLloyd had hurled the basalt straight.\nHe knew the pot wasn't worth the\nveneration it was some day to command\nand he was right. But what vision!!!\nand what a shot.\nThis patched affair this cobbled\njar appeared at Christie's before a\nbreathless audience on May 2nd and\nin this enlightened year of nineteen\nhundred and twenty-nine 29,000 gui-\nneas was solemnly offered for these\nbits and as solemnly refused. The\nsilly vase returns to the British Mu-\nseum so we learn.\nThe thing had been guarded by\npolice and detectives on its way to\nChristie's ; great secrecy was observed ;\nno one was to know what he knew,\nand, while at Christie's it had been\ndeposited in a special and secret safe\nunknown, they say, to even Messrs\nChristie : and it was indeed with\ndifficulty that on May 2nd anyone\ncould be found who remembered really\never having seen the vase.\n44 Wot vase } \" asked the Policeman\nX of Policeman Y when the salesmen\ncame down to the vaults to take it\nupstairs for H. R. H. the Prince of\nWales to see. 44 No vase wot I knows\nof \" replied Policeman Y. to himself,\nand P. C. X. and the salesmen turned\naway lest they might overhear him.\nThere was a delay of twenty-five\nminutes while the four men tried to\nremember what it was they were all\ntalking about and finally they re-\nmembered 44 the rubbishy little thing\nover there \" and P. C. X. pointed to\nthe urn which was wrapped in a bit of\nnewspaper and on its side in the corner\nof the room behind the paper basket.\nBy this time the crowd upstairs had\nbecome restless and some rough handling\ntook place before the precious object The\nPortland Vase could be unobservantly\nconveyed from below into its case near\nMr. McKenna's elbow and hammer.\nMr. McKenna's admiration for this\nbeautiful piece was the only genuine\nenthusiasm in that room. It was its\nmoney he wanted, and he anticipated\nat least £ 100,000 we believe.\n\nEDITORIAL NOTES\nAPRIL: MAY: JUNE"}, {"page_pdf": 37, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.37", "texte": "The joy of it all is this : that,\ngiven Mr. McKenna, a one penny\npiece of the reign of George V. could\nbe made to fetch £ 20,000 or more,\nprovided Mr. McKenna could hit on\nthe right story.\nIt's the ripe old rubbish which\npeople will pay for, not the lovely fresh\nworks of arts of today's young artists.\nWell, good luck to those who have\nthe complaisance to be bamboozled\nand to refuse to admit any such thing\nas even faintly possible. Oh but how\npleasant, easy and hellish !\n\nA REALLYTxPEmivFI\\HN.\nAT the end of 1918 David Belasco\nclosed his theatre for eight weeks\nrehearsals and spent £ 60,000 covering\nthe boxes and orchestra stalls with steel\nso that he might produce a play called\n44 Mima \" in which scenes to represent\nHell were presented.\nIt appears that Mr. Belasco tore out\nand scrapped the entire lighting system\nof the theatre and installed a new one,\nand that the 44 whole stage collapsed\nin the most terrific moment that ever\nhappened in a theatre \".\nBut there is one satisfaction about\nthis sort of thing ; it refutes that fallacy\nthat Craig's productions are terribly\nexpensive and that he demands impos-\nsible conditions. So far as we know\nhe has never spent a tenth part of such\na sum on any production.\nIrving, Reinhardt, and more of the\nproducers of plays have spent £ 10,000,\n£ 15,000, £ 25,000, and, as we see,\n£ 60,000 per piece. 44 The Miracle \"\nas done in London cost £ 80,000.\n\no RETROSPECT, o\n|N Paris lately the English Players, led\n* by Mr. Fred Stirling and Mr. Frank\nReynolds, announced the production of\nan old play in the following words :\nTonight and To-morrow at 8.45\n44 THE BELLS \"\nSir Henry Irving's Greatest Success.\nWhat is the next thing to say, we\nwonder ? It sounds sort of final, but\nwe hope not.\nIndeed, we hope that in future we\nmay read more announcements of old\ntriumphs in the very latest of reclames.\n\no CINEMA HA VOC. o\nMR. Justice Mackinnon on or about\nMarch 5th 1929, clearing his\nthroat, gave forth the following anathema:\n•• I HAVE ALWAYS REGARDED\nTHE CINEMA INDUSTRY AS THE\nGREATEST MENACE THAT HAS\nEVER ARISEN TO LITERATURE,\nART AND CIVILISATION\".\nWe have had the good luck to say\nthis for the last six years or longer in\n\" The Mask and presumably other\npeople have been thinking about it too,\nmay be have even said it, and are\nsaying it still; but what we would like\nto see is the Daily Paper saying it.\nBecause the Daily Paper could say\nit without offending and to the good\nof humanity.\nThe Cinema gives a joyous show\nwhen it gives us Fairbanks as D'Ar-\ntagnan ; it gives us lots of good things\nbesides and its uses are many. Our\nsole point is that to do this without\nbeing a menace to civilisation should\nbe surely possible : and this the Press\ncould long ago have made clear was\nan essential if it were to win the lasting\nsupport of others.\nAs it is IT seems a law to itself\n— supports itself and ruins the world\nwithout any thought of anyone but itself.\nThere are some things, of course,\nwhich die out if you leave them alone,\nand of course the great legislators, with\ntheir discernment, which is rarer than\nso many other rarities, can sort out\nthe things which will die if left to their\nown devices and those which need to\nbe killed off. But for our part we\nshould have thought that this was one\nof the things to kill off quickly, lest\nall the legislators, with their discern-\nment and all their mighty self-control,\nalso get nipped in the bud. Who should\nsay ? Look !\n\nMETEORITE HAVOC.\n11.000 SQUARE MILES\no DE 5 7,4 rEP . o\nA huge meteorite fell in Siberia\n* * in about the year 1908 and re-\ncently a certain Professor Kulik went\nout to see what damage had been done.\nHe discovered that a portion of the\nearth equal to the size of Belgium had\nbeen flattened out and was dead, so\nthat it really does not matter a two-\npenny piece whether the cinema goes\non or doesn't.\nWhile there is something over which\neven legislators can have no control,\nnor newspapers, nor nobody, it is pro-\nbably as well to look on the Cinema\nas a very little nothing and to allow\nthis more or less non-existent thing its\nfull liberty. #Ban, 'Ban, Cacaliban...\n\nLEGEND '^OW^AWAY.\nHEY may not know how to make\nShakespeare plus Craig pay in\nLondon: that's their trouble. In\nAmerica they seem to have the swing.\n£ 5000 and more is being taken\nper week by Mr. Tyler with Shake-\nspeare's 44 Macbeth designment by\nGordon Craig.\n44 Macbeth is being toured round\nAmerica alone — no repertory — one\nplay alone — a tragedy — a great\none.... and the draw is Craig.\nSo 44 the terror of the English\nStage \" as Gordon Craig has been\ndescribed over and over again, isn't a\nterror financially.\nSo a part of the legend is blown\naway.\n\no QUERY...? o\nWHEN are they going to stop cal-\nling parts 4 4 straight \" parts in\nLondon ? Any more stupid way of\nspeaking about an ordinary part is in-\nconceivable. They talk of Delysia\nplaying in 44 straight \" comedy. What\non earth is 44 straight \" comedy ?\nOf course the professional people\nuse the word, ...presumably they use\nit; but why the critics and paragraph\nwriters should farm it out to the public\nwe don't know.\n\noNOTI C E. o\nVY/ILL some kind German inform\n* * us of a late 18th Century Plan\nof Berlin which is handsome and in-\nteresting like those of Rome, London\nParis and Venice issued during these\nlast years by \" The Mask \" ?\nWe want to issue such a plan of\nBerlin the Berlin Frederick the\nGreat left behind him.\nWe can't find a good enough plan,\nand so we must appeal to some one\nin Berlin, Leipzig or Weimar to help us.\n\no THE MASK (sotto voce). o\n44 I 'HAT Theatre Arts Monthly con-\n-44 tinues to appear regularly\n44 (which is more than I do), is as\n44 elegant and interesting as ever, a\n44 charming creature. Drops occasional\n44 compliments to me so that I shall\n44 overhear them besides... what\n44 eyes... Altogether I'm not sure that\n44 I'm not madly in love with Theatre\n44 Arts Monthly.\n44 It would be like me to propose\n44 marriage and get refused.\n44 But what an enchanting little\n44 imitative creature she is, to be sure.\n44 Hmmmmm.... I think I'll go to\n44 Savile Row and order a new mor~\n44 ning coat \"."}, {"page_pdf": 38, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192904-01.1.38", "texte": "LAST WORDS.\n\nON TALKING SHOP.\nMarcel de Tours.\n()NE of the foremost younger actresses of\ntoday, Miss Marda Vanne, lingering for\na while on the amusing thought of how stu-\npid members of the public might and do find\nit to listen to people talking shop, took up the\nnotion and in a paper patted around a bit\nwith some fistified phrases many of which\ntold heavily.\nI read the article and fell flat.\nFor I had always held that it was the\ndullest of dull things to hear shop talked.\nBut shop to a lady of intelligence doesn't\nmean what you and I mean. We mean du-\ncats she meant mischief.\nShe would listen to some shop-talk twixt\nReinhardt and Craig : she pulled both their\nlegs in saying so and both artists I have\nbeen told wrote to her at once so as to show\noff their powers in the way of small talk of\nthe Theatre.\nCraig's letter was, I am told, all figures ;\nReinhardt*s theoretical and emotional.\nAs a matter of fact in England artists,\nwhen they meet, rarely talk shop they\ntalk about the weather and the things they've\njust seen or heard of, and are as chatty as\nany 44 Beachcomber \", only the chat is not\nhalf as intelligent.\nDid they in the 16th century, I wonder,\ntalk better and talk more shop } I dare say\nthey didn't but they could have done:\nbut so far as I can find out no artist in those\ndays had any time to devote to talking : he\nwas there to work, not to enjoy himself at\nthe world's expense. The world became dis-\nsatisfied with things and stopped his pay and\nfinally gave him his liberty, and that has led\nto the lovely amount of talk that he has put\nover on to the silly creature.\nI was talking to a gardener the other day\nand couldn't get a darned word out of him :\ngardeners haven't had their job taken from\nthem so they can't enjoy a good talk.\nCabmen can talk, but the horse can't\nand for the same reason. Chauffeurs can talk\nbut they don't enjoy it; it's part and parcel\nof their dangerous work ; they keep up a run-\nning fire of brilliantisms all the time even as\nthey run you into the Loire and out again.\nIt's like the whirl of the wheels and the\naction of the cylinders a bit of the ma-\nchinery.\nConsider too, they talk and act dan-\ngerously, these men, and land you safe and\nsound at your destination. If they took care,\ntalked with care and behaved carefully, you'd\nbe dead in five minutes. Did that ever occur\nto you ?\nBut now I'm talking shop for I,\n...I'm a chauffeur,\n\nTHE COMMON TOUCH.\nPROGRAMMES & HANDBILLS\nJ.B.\nPASSING through Paris, London and Berlin,\nI collected a handful of theatrical announce-\nments or programmes of each town, and on\ngetting home and laying these out along the\nfront of a sofa one thing prominently asser-\nted itself.\nThis is, the commonness of the English\nadvertisements, the good taste of the German\nones, and the brightness of the French.\nTaken all in all, the French are the best.\nThe English are far and away 'the worst,\nthe touch all over the thing is a common one.\nIf a semi-nude girl is drawn on a French\nprogramme it is a pretty little thing ; on the\nEnglish it simply becomes thirty times com-\nmoner than the commonest chorus girl in one\nof the cheapest theatres.\nTake, for example, a thing called the Stoll\nHerald, a thing of eight pages telling us about\nRose-Marie, Clearing the Decks, Harold Lloyd\nand other Stoll attractions.\nA jumping bar-maid drawn on the front\npage is about the cheapest piece of colour-\nprinting that you could find. I don't mean\nthat it cost little, for it probably cost eight\ntimes what Mr. Bati's coloured cover did. His,\nfor the Theatre de I'Avenue, is attractive be-\ncause the design is by Holy. The programme\ncost Frs. 2.50.\nAgain, the Victoria Palace, of which the\nmanaging directors are Sir Alfred Butt and\nMr. R. H. Gillespie, announcing the perfor-\nmances of Owen Nares and Ella Retford\nand the Victoria girls, (trained by the way,\nby Mrs. Rodney Hudson) ; that too is a cheap\nbit of goods. It shows a grinning girl in a\ncommonplace costume with the usual com-\nmonplace ribbons all over and she is pointing\nto Heaven with the finger. She is supposed\nto represent something English and the colour\nprinting is supposed to represent something first\nclass in craftsmanship. It looks a costly piece\nof work, but that is all.\nNext comes the London Coliseum card in\ncolour, which certainly might be worse. That\nis the very best that can be said about it.\nAfter that, a postcard advertising \" Plun-\nder \"* and one advertising Hicks and his wife\nat the Lyceum. The last shows us two char-\nming portraits and for this reason is quite\nright, but the 44 Plunder \" could again hardly\nbe worse.\nIt is not a question of not employing ar-\ntists to do it, because there is such a marked\nantipathy to art and artists that it stands to\nreason that none could be ever employed to\ndo those things in England. All I would\nhumbly ask is this : how the dickens do they\nsuppose any decent printing can be done\nany decent reclame at all unless artists are\nemployed ? And whatever the answer is, and\nit is sure to be a silly one, the fact remains\nthat, if other nations can do it, the English\ntheatrical firms which don't do it are really\nbehind the times in their passion for the over\ndisplay of an old if particular kind of ignorance.\nCertainly in Paris the \" Theatre du Moulin\nBleu \" provided a fearful design in awful co-\nlours to decorate its programmes, price 2 francs,\nand the Cirque d' Hiver colour programme\ncoyer is rubbish. The Fratellini brothers are\nartists so I hope they see this note and ask\nM. G. Desprez their Directeur General what\nthe devil he means by it. Paris is swarming\nwith brilliant young artists willing to make\nthe Fratellini a design for 500 francs, and\nwhy less, since a first-class design will bring\ninto the house at least 50,000 francs worth\nof people who would keep out of it because\nof the rotten design now being used.\nThe prices of these French programmes is\nworth a moment's attention.\nCirque d'Hiver, full of advertisements, 1.50 fr.\nTheatre du Moulin Bleu \" 2.00 fr.\nFolies Bergeres \" 3.00 frs.\nTheatre de l'Avenue \" 2.50 frs.\nIf a programme is to cost the public any-\nthing it should be at any rate a decent offe-\nring for the 6d. paid.\nThe idea of packing it with advertisements\nwhich have no connection with the show or the\nDrama is of course to help the public •\n44 the public want it \".\nAll talk. The public don't want it.\n\nTALKIES\nPEOPLE are beginning to argue hotly over\nthe Talkies.\nThese same Talkies have but begun to\nrumble: afar off this immense vulgarity has\nuttered a gurgle and given birth to its first\nhiccough.\nInstantly dandies have leapt forward ex-\nplaining it to the multitude through the co-\nlumns of the classy journals. Ihe hiccough has\nstyle, we are told; 'tis a good hiccough—they\nwish us well of the hiccough, and so on.\nBut, dearly beloved blackguards, it was\na hiccough, wasn't it, so admit it.\nBut it's a trifle to what is to come.\nSilent, the Film had but terrible eyes\nand claws with which to terrify us : but now\nit can play with the vowels, think of what a\nbutcher's bill there'll be for us to pay.\n\nNOT AS OTHER MEN.\nPoems. By JOHN DRINKWATER.\nSelected by the Author for the\nTauchnitz Edition. IV.-4853.\nThis selection from the works of one\nof the most eminent of modern English\npoets has been made by John Drinkwater\nespecially for the Tauchnitz Edition, in\nwhich his name appears for the first time.\nAverse to mysticism and decadence, he\nstands for all that is sane and pure on this\nearth, for which he is imbued with deep >\nlove and reverence. It has been said of J\nhim, that he lives in our times without!\nbeing of them.\n[ HIS is a facsimile, (save for the under-\nlining which is mine), of one of the announ-\ncements found on the covers of Tauchnitz\nvolumes.\nThe particular volume on which it happen-\ned so unfortunately to alight was that sane\nwork by Mr. PG. Wodehouse entitled 44 Meet\nMr. Mulliner \". I do not know a work of\npurer fun, nor one imbued with deeper love\nand reverence for this earth. Yet Mr. Wode-\nhouse, one presumes, is of our times as well\nas living in them.\nI would give much to know for certain\nwho penned the above tribute to Drink water's\nsanity, purity, deep love and reverence.\nFor concentrated affectation it is a long\ntime since 1 have read anything as priggish\nas this.\nSo Drinkwater, while forced by circum-\nstances to live in the same epoch as Hous-\nman, lE, Beerbohm, Kipling, Barrie, Gals-\nworthy, Bennett, W. B. Yeats, Mason and\nthe rest, is not of them is not as one of\nthese.\nCan you beat it ?\n\nAll Rights reserved. June 1929*\nDirettore-responsabile Antonio Maraini.\nTipografia L. Franceschini - Firenze."}]}