No More Learning

towards the Pont de Solferino-a peaceful
rural study with flowers and trees in the
art which, while it hardly shows lack of The issue of A Catalogue of an Exhibition foreground and a line of rocks barring the
insight, yet, through generously neglecting of Old Masters in Aid of the National horizon, and the Pont de Tolbiac, giving
to pry into the occasional instructive Art - Collections Fund, Grafton Galleries, the impression of a tidal estuary sweeping
weakness of a genius, fails somewhat to
1911 (Lee Warner), impels us to refer to the out to sea beneath the walls of a feudal
make clear to the ordinary reader the the Committee of Selection. The Exhibition the accomplished artist had put side by
great success which attended the efforts of castle. It would have been interesting if
precise nature of his strength. From an
formed a less sensational triumph than | side with each of her studies a photograph of
artist like Sir Charles Holroyd we could that held in the same galleries two years the same view, to show what appeals
have tolerated greater detail in the treat-previously, but was hardly, if at all, inferior specially to the educated eye of the expert.
ment of technical matters, and a franker to it in the high standard of quality and note Miss Jessie King must, we think, have made
acknowledgment of those secret irreverent of distinction of the pictures, a large propor- her sketches soon after dawn on spring
reservations which qualify even the most tion of which were previously quite
unknown mornings. This would account for the
hearty admirations of the actual practi- to the general public. The student of the tender green verdure in a smokeless atmos-
tioners of an art. The desire above all would do well to avail himself of such oppor- life from the busy banks of the Seine in
prevented from seeing them, phere, but not for the complete absence of
things to do justice to the greatness of his tunity of acquaintance as the issue of the matutinal Paris.
theme even leads him to exaggeration present Catalogue affords. It contains eighty
M. Edme Arcambeau's share in the volume
when, dealing with the three successive full-page plates in collotype and one in photo-
days on which the Adam of The Creation gravure, and they are on a scale sufficient is an admirable description of the scenes
portrayed, illustrated by quotations from
If
was painted-first down to the collar. to afford a just impression of tones.
M. Georges Cain and other writers who
bone, then down to the hips, and the legs it had then been possible to produce such know their Paris. His own protest against
a record, what a treasure to its fortunate
last of all-he declares :
Such power of
the projected demolition of the Pont des
work and of finish is utterly inconceivable | Chester Exhibition of 1857 be to-day !
possessors would the catalogue of the Man-
Arts is forcible and just. If he is a French-
to any artist of to-day. Some will even
man, and the text as it stands is written by
excuse the imperfection of the study of exhibition of two years earlier, is emphatically of English. If it is a translation, we offer
The present Catalogue, like that of the him, he has acquired a marvellous command
a head by saying that they had only miee
for the collector to cherish. For the our compliments to the translator.
by age.
8
one


## p. 20 (#32) ##############################################

20
No. 4393, Jan. 6, 1912
THE ATHENÆUM
van
OLD MASTERS AT THE ACADEMY.
of the master upon a less masculine mind; art more logical, more unified, more truly
yet it is in many respects more satisfactory homogeneous, than the brilliant compilations
** Ar present it is probable that these exhi- than the Portrait of a Man (52), which seems of Mr. Abbey, which are, after all, but a
bitions, like those at the Grafton, do but evidently authentic, but presents a viva- clever compromise. At the same time, just
facilitate the departure (which all alike ciously modelled mask rather than a head. because we believe his work will speedily
deplore) of reputed masterpieces from this That handling so eloquent as that of this face become out of date, we anticipate for him a
country. The question of State interference and hand should be to some extent irrelevant niche in art history, though principally
with this exodus, which Mr. MacColl has to the purpose of the picture as a whole is for the pen drawings of the period of the
recently raised once more, is doubtless not quite uncharacteristic of Rembrandt, 'English Songs. ' It is easy to say that such
economic rather than artistic. On the face whose intense interest in humanity often works as The Noble Patron (298), or the
of it, it appears that the million of potential overrode his respect for pictorial coherence. drawings for The Leather Bottel (307), for
expenditure he asks for would almost Many will prefer this spontaneous if un- Sally in our Alley (302 and 308), for Phyllida
certainly prove a profitable investment from principled grappling with the difficulties Flouts Me (271), lack concentration and
the national point of view. From the of presentment to the brilliant and plausible, coherence if judged from a severe standard
standpoint of one primarily interested in but somewhat empty Portrait of a Cavalier of æsthetics ; but they are superbly true
contemporary artistic activity, however, (81), which, while conceivably a poor original
(81), which, while conceivably a poor original to the artist's standard of æsthetics, which
it appears possible that, once effectively work, might almost equally well be a sufficed to keep his touch at once eager and
denuded of its stores of inherited art, the supremely
capable forgery.
delicate, so that there are perhaps a score
country might display a more active interest
Only less great than that of Rembrandt, or more of drawings to be picked out of this
in the work of modern schools, and that
the names of Rubens (113 and 140) and collection which should have an interest
this work warmed by patronage and with Tintoretto (103 and 107) may be found akin to Watteau's as an historically exact
the cliché of European critical approbation attached to works of considerable size, but record of a phase of fancy. The beauty of
upon it, might cross the Atlantic at an
very moderate merit. One of the most these drawings and of fragments in the
enhanced price when duly matured.
pressing duties of criticism is to discredit others is a little lost in so large an exhibition,
From neither point of view need we mourn the prejudices due to the vulgar worship which gives an impression of mere restless
unduly if the collection of Sir Joshua's
of signatures which stands in the way of copiousness. The group of oil paintings
works in the first room at Burlington House any sincere appreciation of art to-day.
in the Octagon Room, on the other hand, is
finds & home outside these islands. In
It is doubtful whether any of the works admirably arranged. The pictures never
the full-length of Anne, Duchess of Grafton hitherto cited occupy the place in our
looked so well before, and we should not be
(12), the gorgeousness of costume is decently affection which is won by certain minor surprised if they were to provoke a recru-
subordinated to the simple backward sweep canvases by admittedly minor artists. First descence of imitation by the younger
of line which is the raison d'étre of the among these are a series of landscapes of exhibitors at the Royal Academy.
picture. The Dr. Johnson (2) is wonderful extraordinary beauty-two by Jan
as a replica, but still by no means equal to Goyen (78 and 82), two by Claude Vernet
the original in the National Gallery. The (139 and 141), and one by Hogarth (118).
Portrait of Frederick Howard, fifth Earl of All these are expressed in terms of a con-
LANDSCAPES AT THE ROYAL WATER-
Carlisle (4), is adroit and expressive, with vention with which we have long been
COLOUR SOCIETY'S GALLERY.
the failing (typical of the school) of a head
familiar, but in each the painter uses his At the seventeenth of these annual
somewhat empty in comparison with the idiom with a high degree of spontaneity landscape exhibitions a group of pictures
elaboration of the accessories.
There are to deal with subject-matter in which he is by the late J. Aumonier recalls to us that
other capable things, yet the general effect completely absorbed. Only a little less the death of Mr. Abbey is not the only loss
of the painting in the room is at once perfect are two figure pieces by Hogarth: art and the Academy sustained during the
dull and pretentious, as fashionable portrait- The Painter in his Studio (153), in the vein past year, and it seems an odd oversight
painting naturally tends to be.
of Vermeer, and an example of childish that the institution which for so long a term
The group of Primitives in the next room portraiture, Gerard Anne Edwards (151). of years could count upon the assistance of
is also not of the first importance, in spite of Romney's Mrs. Canning and Child (124) is so accomplished and sensitive a painter
the great names displayed. The Giovanni the most sincere example of the fashionable should not have included memorial
Bellini (St. Francis of Assisi, 41) appears to portraiture of the eighteenth century ; group of his work in the present exhibition
be generally admired, and certainly the while of the other portraits, Lely's Young at Burlington House. Wrangle (6) is the
details of landscape and accessories are Widow (85) captures us by sheer compact- best picture now showing in Pall Mall,
very interesting and well painted; but it ness and craftsman's skill
, and Cuyp's delightfully dainty in texture, with the
has neither the technical beauty of Bellini's Portrait of a Young Girl (77), if less varied resourcefulness of touch which comes
best work-being, indeed, singularly oily brilliant than the portraits shown in the of long experience taxed to the utmost by
in quality-nor the plastic simplicity and same galleries a few years back, holds the
an eye which sees in nature a great deal to
massiveness which in an occasional design attention by its intimacy of characteriza-
suggest. The larger Handborough Farm (7),
make us think of this painter as uncon- tion.
if not quite so easy and spontaneous, has
sciously among the greatest of masters.
the same wonderful quality of execution-
Nevertheless, it is clearly an important Necessarily to be considered apart from notably in the sky, with its extraordinarily
work, with a certain stark blackness more the rest of the exhibition, and indeed con- bold use of dragged paint. This subtle
reminiscent of his altarpiece in the Frari stituting an exhibition in itself, is the collec- technical variety is the hall-mark of the
than of his other more sensuous vein, which tion of the work of the late E. A. Abbey in best nineteenth-century painting, and for
would have seemed more suitable for the the last four rooms. The Academy has a time at least we shall almost inevitably
subject. The little Mantegna alongside (42) is generously represented the achievement of
generously represented the achievement of lose it in our search after greater simplicity
rather small and dry-not perhaps on that the artist, who, by as generous a bequest, of design. Ambersham Common (1) and
account uncharacteristic of the master in demonstrated his belief in the continued Handborough Mill (3) are other excellent
works of this character; but neither as decora- usefulness of the institution. It is examples of the painter whose work con-
tion nor as drama does it do justice to the apotheosis of the art of drawing from the stitutes the most important exhibit in the
powers of a master of both.
The Virgin and model, which, after all, is probably what
Child with St. John (40), ascribed to Botticelli,
present show.
the majority of Academicians are most The list of exhibitors on this occasion
is much less admirable. The choice of type honestly united in believing in. It is
differs considerably from that of the
is conceivably that of the painter alleged, probably a general, and on the whole bene- last year or so. We have no longer the
but the draughtsmanship is hardly that of
ficent, poverty which has been the prime work of Messrs. Peppercorn, Mark Fisher,
Botticelli in any of its various phases. factor in forcing artists to choose one of two and Austen Brown; and it cannot be
Another Virgin and Child (44), attributed methods of cheapening the cost of producing said that Mr. John Lavery, Mr. Adrian
to Cima, is very characterless, but with a
& painting. They have either been obliged Stokes, and Mr. Lamorna Birch are adequate
certain technical accomplishment. A third to reduce their subjects to such a simple substitutes. Of the original group of
Madonna and Child (43), ascribed to Lorenzo and everyday affair as can really be studied painters, Mr. James Hill (in 12, Wareham)
di Credi, is indifferently painted, but shows all together at no great expense, or more and Mr. Leslie Thomson (with Near Wrox-
a good sense of pattern. Even Gheeraert rarely they have embarked on the art of ham, 47) have each one admirable picture.
David's Descent from the Cross (47) is not
using for purposes of design such stock of Mr. Hill shows still in his other work the
quite a first-rate example, careful and
knowledge — knowledge of structure, of besetting sin of concentrating his attention
modest painting as it is.
character and environment, of the principles as a draughtsman upon such form-often
Of the seven canvases exhibited under of light and shade, of perspective, and of small and trivial enough-as profiles sharply,
the name of Rembrandt, Mr. Boughton-movement—as a life of generalized study to the neglect of the line of cleavage between
Knight's Cradle (51) appears to us the may store up within them. There can be the general mass of light and shade, which,
finest. Elisha and the Shunammite Woman little doubt that in the long run both these vaguely defined perhaps to the eye, is
(59) is an attractive example of the influence courses of action will be seen to evolve an essentially structural to the sense.
a
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## p. 21 (#33) ##############################################

No. 4393, Jan. 6, 1912
THE ATHENÆUM
21
IS
new
6
He was especially successful as a painter of case of tunes which are not altogether
WATER-COLOUR DRAWINGS
horses and hunting scenes, and he was also unknown in previous collections. He
AT MESSRS. TOOTH'S GALLERIES. a clever illustrator.
also has developed a style of accompani-
Shanklin, Isle of Wight (28), by F. William- A FORETASTE of M. Rodin's shortly ment for his folk-songs which is both
son, is, in its rather dry fashion, so accom- | expected volume on ‘Les Cathédrales tasteful and ingenious : a mixture of
plished and sincere as to be on the whole given in the current number of the Revue
modern feeling with ancient modal har-
the most estimable work in this collection Française, which contains
of somewhat uninspired water-colours. Amid Madame Judith Cladel based on unpublished mony, the result of which justifies a certain
şuch surroundings we can understand how notes by Rodin about the cathedrals of anachronism in the method.
Israëls (13), Fortuny (17), and W. Hunt (36) France.
There is no field more suited for the
got their reputations. The catalogue con-
A ROMANCE MUSEUM is being founded at display of the best qualities of folk-music,
tains many respectable names, like those of Lausanne by a society recently formed to its sincerity and directness, than the carol.
('allow, J. Syer, and Sir John Gilbert, but collect old furniture, arms, glass, and other certainly among Mr. Sharp's examples
the actual drawings are disappointing.
objects having an artistic or historical value we have many charming specimens of
in relation to French Switzerland.
the unconscious art of the country-side.
THE COMMITTEE OF OLD-PARIS has peti- | Such modal melodies as “King Herod
tioned the Ministry of Fine Arts to transfer and the Cock' (i. ), The Sinner's Re-
Fine Art Gossip.
to the Louvre Carpeaux's sculptured group demption' (viii. ), and 'The Little Room'
* La Danse, considered to be his master- (xvii. ), or vigorous tunes like. Come, all
With the generous assistance of Lord piece, which, owing to its present position you True Good Christians' (ix. ), and 'On
Strathcona, Sir Julius Wernher, Lady in the open, is exposed to the danger of being Christmas Night' (x. ), of a more modern
Wantage, and others, Mr. A. G. Temple permanently injured by the weather.
has been able to acquire for the permanent
type, are all delightful, and there are
collection at the Guildhall the Pre-Raphaelite
SIR GUY LAKING has acquired for the others equally good.
picture of The Cavalier and the Puritan,'
Historical Museum of London the
by W. S. Burton.
greater portion of the collection of historical
There is, however, a strain of pedantry in
costumes and armour formed by the late
these collections which appeals, perhaps,
We congratulate Mr. Frederick Wedmore, Ernest Crofts, R. A.
to the expert in folk-music, but is a little
an art critic and writer of distinction, on
his knighthood.
THE NEW CAMPANILE at Venice, recon-
annoying to the plain musician. Mr.
structed on the model and on the site of the Sharp makes it his boast that he obtains
MURILLO'S ‘Immaculate Conception,' at old tower, is now almost completed, and a true text by taking his tunes down
the Museum of Seville, has been partially will be formally opened on April 25th. from the lips of old men and old women
destroyed through careless cleaning. The
A SocitTÉ DES AMIS DU MONT-SAINT- living in country villages, yet we are not
resh tints of the cherubs, painted by thin Michel has been formed with the following always sure that we can take these authori-
glazes, have been completely dissolved by objects : (1) To watch over the safety of ties quite so seriously as he does. The
i spirit employed by the restorer, Virgilio the Mount; (2) to prevent the demolition tune of the second version of ‘I Saw
lattoni, who has been arrested, and is
row awaiting trial under the Spanish law into execution the decisions of the Ministry
of the ancient houses thereon; (3) to put Three Ships'is plainly the childish ditty
which forbids any person to attempt to
Here We Go Round the Mulberry Bush,'
ristore a painting in a public gallery without in its “primitive insularity”; and ; (4) to
of Fine Arts for the preservation of the rock
with a slight variation. No harm in that,
formal authority from the Academy of Fine study all questions of interest to tourists because the same folk-tunes have often
Arts.
in the neighbourhood.
many uses; but the different fourth verse
AN IMPORTANT EXHIBITION of drawings
opens in a manner which certainly sounds
and water-colours, opened last week at
as if the old ranter's hymn, 'Here We
the Galerie Druet, 20, Rue Royale, Paris,
EXHIBITIONS,
Suffer Grief and Pain,' had got mixed with
reveals the increasing attention paid to SAT. (Jan. 6. -Mr. 8. Bagehot, De la Bere's Water-Colours, Private it. Are we to assume that such an acci-
water-colour by modern French artists.
Sir Alfred East's Paintings and Drawings, Private View, dental admixture is improbable among
M. Marquet's luminous impressions of
Mr. Alexander Jamiesop's Paintings, Carfax Gallery:
Morocco, M. K. X. Roussel's pastoral idylls,
these village musicians ? If not, no tune
Mr. Roger Fry's Puintings, Alpine Club Gallery, Mill
and the nude studies of M. Francis Jourdain
can be beyond question. Mr. Sharp's
and M. Manguin are notable contributions
experience is great, and doubtless his
to a collection which also contains lyrical
judgment in such matters is mature, but
charcoal drawings by M. Paul Signac, some
there is no other criterion of what is true
curiously expressive studies of cats by M.
Kees van Dougеn, and characteristic works
tradition, and what is mere scattered
MUSIC
by MM. Alcide Le Beau, Bonnard, Camoin,
reminiscence. Among so much that is
Maurice Denis, Georges d'Espagnat, Jules
excellent, we should hardly raise the
Flandrin, Othon Friesz, Hermann Paul,
question were it not for a rather pro-
Valotton, and Valtat.
English Folk-Carols. With Pianoforte Ac- nounced flourish of trumpets in the
companiment, and an Introduction and Preface with which this volume is intro-
VISITORS to the important exhibition of
Notes. Collected in Various Parts of duced. We think that it is as unnecessary
Italian portraits held at Florence recently
will be glad to have a permanent and illus-
England by Cecil J. Sharp. (Novello to call upon us “to note the noble sweep
trated record which appears in the new
& Co. )
and severe grandeur of tunes which,
number of Les Arts, and in which over forty This is another of those volumes by which of selection and suitable setting, as it is
after all depend upon the editor's power
of the portraits and portrait groups are
reproduced.
Mr. Cecil Sharp has materially enriched to repeat the statement that no musician
M. ROLL has decided to retire from the our knowledge of the ancient folk-music could write such airs. The discovery of
presidency of the Société Nationale des of England. It contains carols which are
their manifold beauties, which we do not
Beaux-Arts, which he has held since for the most part new in form, if not wish to deny, should be left to the musical
Carolus Duran took over the direction of the entirely unknown by name in previous public.
Villa Médicis. It is expected that his suc- collections. Four of them, God Bless
cessor will be either M. Rodin or M. Albert You, Merry Gentlemen' (a title deliber-
Besnard.
ately adopted in preference to the more
THE friends and admirers of the late Prof. usual ‘God Rest You Merry, Gentlemen'),
OUR LIBRARY TABLE.
Legros will be gratified to hear that his The Virgin Unspotted,' As I Sat on a Music and Nationalism : a Study of English
family has arranged to hold an exhibition Sunny Bank ' (better known by its second Opera. By Cecil Forsyth. (Macmillan. )
“No book," says our author, “has been
crayons, medallions, and sculpture left by stanza, “I Saw Three Ships come Sailing
him. It will open at the Fine Art Society's, By'), and 'The Ten Joys of Mary'-have a wholly devoted to giving an account of the
New Bond Street, on Friday in next week. familiar text, but there, except in the first forces which have influenced the Musical
The well-known painter Ludwig Voltz, case, the familiarity ceases. Mr. Sharp he has attempted to fill that gap, but le
whose death in his 87th year is announced always has some new form of melody, has extended his scheme and briefly dis-
from Munich, was one of a family of artists. some new scale to propose, even in the Icussed “the more general relationships of
View, Fine Art Society's Gallery.
Leicester Galleries.
Street, w.
Mr. Walter Tyndale's Water Colours, 'An Artist in Egypt,'
Private View, Leicester Galleries.
66


## p. 22 (#34) ##############################################

22
THE ATHENÆUM
No. 4393, JAN. 6, 1912
one
or
66
our
as
over-
is of
National life and Musical Productivity. " style, but they do not call for serious MR.
JOSEF HOLBROOKE announces his
This wider subject naturally comes first. criticism. We shall refer to
eleventh year of Modern English Chamber
“Why,” asks Mr. Forsyth, does one two of the papers just to show whom Music. The three concerts will take place
nation develope musically while another Mr. Graves respects, whom he admires, and at the Æolian Hall on Thursday evenings,
remains musically undeveloped ? " For he of whom he disapproves. Mendelssohn will January 25th and February 22nd, and
declares that « all nations are equally serve for the first. The part which he Monday afternoon, March 25th. At the
musical,” & statement, however, open to played in the revival of Bach's music second some choral songs by Mr. Holbrooke
question.
is enough to win him immortal gratitude, will be given for the first time; and at the
Outside chronic poverty," says says our author, and we heartily agree third his new Miniature Suite for five wind
author, “there is only one factor which with him, we do when he states instruments.
can have any deterrent effect on national
that the composer
at his best main-
MESSRS. MESSAGER AND BROUSSAN will
musical development, and that is the acqui- tained an even perfection which few of give next May at the Paris Opéra two per-
sition of world-power. ” And, again,“ It is Eng- the immortals have reached. We feel formances of" Tristan et Isolde,' under the
land who has, since Elizabethan days, most that he has here pointed out the essential direction of Arthur Nikisch ; two of the
devoted herself to the aim of World-Empire. ” difference between talent and genius ; for
- Maîtres Chanteurs,' probably under that
Was there, then, no musical development even perfection” is the very hall-mark of of Hans Richter ; and one cycle of the
when Byrd, Bull, Dowland, and Morley talent. He admires Debussy's art work, Tétralogie,' with Weingartner as conductor.
flourished ? Was there not development though he remarks that we do not want
throughout the seventeenth century, cul- music to be consistently of subnormal
An unpublished work by Beethoven was
minating in Purcell, who“ faced the problem temperature, any more than we want it to produced by the Brussels Quartet at
of lyrical drama, and found a solution of be consistently inflammatory and
Jena at the first Academical Chamber
its difficulties, perhaps more satisfactory stimulating. " But · Pelléas et Mélisande'
Concert there. It is entitled 'Duett
and artistic than any which had been offered is the only work for the stage which Debussy consists of a movement in sonata form for
mit zwei obligaten Augengläsern,' and
by his contemporaries or predecessors”? has produced, and it is likely that, in a
After him, but only then, did the develop- work of different character, he will produce viola and 'cello. The curious superscription
ment cease. Within ten years after Purcell's music of a different kind.
refers apparently to some joke concerning
death Italian opera appeared in London Mr. Graves admits that Strauss is ab- the two players for whom the piece was
(i. e. , in 1705), and yet no English composer normally clever, and that he has written written, probably during the early Vienna
drew the sword bequeathed to him by much fine music, but he dislikes the jests period. The autograph is in the British
Purcell, in order to repel the foreign invader. and eccentricities in the composer's latest
Museum.
During the eighteenth century no genius works (i. e. , in 'Salome' and `Elektra '). APROPOS of the Liszt centenary celebra-
arose to carry on the development started so do many people ; but seeing that all great tions, an article by René Descharmes in
by Purcell. Had his life been prolonged, composers, notably Beethoven, have in the current Mercure de France draws atten-
enabling him to mature his gifts, and dulged in similar things, one can scarcely tion to a little-known book by Adolphe
directly or indirectly to influence and bring that as & charge against Strauss. Pictet, and summarizes the circumstances
stimulate rising composers, the story of The restlessness of the music in the works which in 1836 brought George Sand, Liszt,
English music would, we believe, have been named, the insignificance of their themes, and Madame d'Agoult together in Switzer-
very different.
and the intentional cacophony for realistic land. First published in Paris. (Duprat,
Mr. Forsyth, in support of his theory, purposes are much more objectionable. 1838), Une Course à Chamounix
points to the Roman Empire, which for so There is one paper which the rising gene- interest merely from a typographical point
long a period aimed at World-Empire: “ No ration will probably pass over as dealing of view. As a study of Liszt and his two
musical development of any sort took with matters out of date. It refers to the friends at a que period of their lives by
place. " But at that time there was no art good work done by Sir August Manns, with a creditable witness it has almost the
of music in the sense in which we now under the help of his enthusiastic friend Sir George importance of autobiography.
stand it. The cases of England and Rome Grove, at the Crystal Palace, during a period
are not parallel.
of nearly forty years. Men come and men go ;
In discussing the wider question we have i after Manns there was Richter, and before
to a great extent answered Mr. Forsyth's Richter had left England, Sir Henry J.
narrower question: "Why is there no trace Wood had started those concerts at the
Sunday League, 7, Queen's Hall.
of connectedness in the history of English Queen's Hall which have done so much for Saturday. )
Opera ? “ It is," as he remarks," a history the public and for the art of music itself. THURS. Richard Buhlig's Pianoforte Recital, 8. 30, Steinway Hall.
of hesitation, of intermittent effort, and of Those who are old enough to remember the
acknowledged failure. " The German, we Saturday Concerts at the Crystal Palace
are told, has been able to
build up, brick in their best days will know the value of
by brick, an immense and noble artistic them; but the rising generation is ignorant
structure, while the Englishman has been of this pioneer work, or, if not, thinks it
DRAMA
running about trying first one style of founda- of little value in comparison with what is
tion, then a second, which he abandons being achieved to-day.
distractedly for a third. ” On the other
OUR LIBRARY TABLE.
hand, Haydn, Mozart, and Beethoven
gradually raised instrumental music to its
Nights at the Play, by H. M. Walbrook
highest point; while Gluck, Weber, and
Wagner did the same for opera.
(Ham-Smith), contains criticisms of plays
Of the
Musical Gossip.
contributed to The Pall Mall Gazette between
English composers of the eighteenth century
and the first half of the nineteenth not one
MASSENET'S ' Le Jongleur de Notre Dame' | 1907 and 1910. Mr. Walbrook has reprinted
could be called a genius; moreover, the will be performed at the London Opera- notices of such works only as he found
aim of many of them was simply to amuse
House next Wednesday. It will be inter- it possible to praise. But since he liked
the public. The composers named above, esting to see how it will be received; for nearly every piece produced during those
years that was good, or even moderately
taking their art seriously, produced master though the beautiful work, based on an
pieces. They were all comparatively poor,
old legend, was given with an admirable good, his is a pretty complete record of the
cast at Covent Garden in 1906, it failed to
London stage during a period which saw,
except Haydn, Gluck and Wagner, and
only late in life were these intolerably attract the public. We think there is only among other events, Miss Lena Ashwell's
comfortable circumstances.
one other opera, also by a French composer, Repertory Theatre; and the critic is by no
Kingsway management and Mr. Frohman's
The author sets the reader thinking,
without any woman's part. A
· Omasis,
and that cannot be said of many books on
means so wedded to the drama of ideas that he
Joseph en Egypte,' was
music. The chapters on
can discover no virtue in the “ commercial
Paris in 1806. As great
'The English produced at
Language and Operatic Singing' and on objection was taken to the love episode intro- playhouse. If he is sealed of the tribe of
* The Composer and his Public are most duced into the simple yet strong Bible Bernard Shaw, he can also commend un-
practical. We must also mention an excel story, Alexandre Duval undertook to write reservedly 'John Glayde's Honour. ' If he
is worshipful in his attitude towards Mr.
lent Bibliography of English Opera. '
a libretto strictly on Bible lines, and Méhul, Galsworthy, he is ready to wax enthusiastic
who was present, agreed to compose the
If he
music.
An Englishman's Home. '
Within a few months, 'Joseph en
loves Mr. Barrie, he has terms of lavish
and Sketches. By Charles L. Graves. (Same Égypte," which ranks as Méhul's master approval for Mr. Jerome's Passing of the
publishers. ) – This book consists largely of a work for the stage, was produced.
Third Floor Back. ' If he hails with delight
collection of articles reprinted, with some The part of Le Jonglour, strange to say, the dramatist revealed in “Irene
alterations, from The Spectator. They are will be taken on Wednesday by Mlle. Wycherley,' he can also enjoy “The Brass
thoughtful, and written in & pleasant Victoria Fer.
Bottle' and 'The Chorus Lady. '
PERFORMANCES NEXT WEEK.
Sux. Concert, 3. Albert Hall.
Sunday Concert Society, 3. 30, Queen's Hall.
Tues. , WED. , FRI. , and SAT. London Opera House. (Matinée also on
Mox. Orchestral Concert for Young People, 2. 30, Æolian Hall.
SAT. Chappell Ballad Concert, 2. 30, Queen's Hall.
Joseph Malkin's 'Oello Recital, 3. 15, Bechstein Hall.
>
ou
over
new


## p. 23 (#35) ##############################################

No. 4393, Jan. 6, 1912
THE ATHENÆUM
23
a
comma.
are
so
manner
But, where not a few of his colleagues Fortunately, the three plays under notice One feature calls for remark: his lines
were content to admire, in such cases, for do not exhibit him as in any way lowering are, as a rule,
rule, “end-stopped," whether the
example, as those of 'Mid-Channel,' The his standards. 'A Man of Honour' was pause be brought about by a full stop or
Playboy of the Western World,' * Don,' and written at white heat of inspiration, and,
We find little enjambment
Nan,' he strikes out an independent line though his first effort, represents the high- in them, and not a pretence at what
and shows more questioning spirit. water mark of his art—it is very nearly a Prof. Saintsbury calls the verse-paragraph.
Studies of the shabbier. phases of life, masterpiece. In · Lady Frederick,' in which Mr. Zangwill's interpreters must have found
when they are not relieved by much he followed conventional models, he was it possible to rest their voices legitimately
humour, or exalted to the level of tragedy, really interested in the personality of his at the end of nearly every line. One of
depress and disconcert Mr. Walbrook, just fascinating heroine. *Jack Straw' is the speeches of Frithiof, the Tolstoyan
as does acting which betrays the animal in frolic of high spirits, and its author must apostle of peace, addressed to his Bismarckian
man or woman. So the general atmosphere have enjoyed inventing it as much as audi- rival, will serve to make this clear :-
of Sir Arthur Pinero's story of Zoe Blundell ences enjoyed watching it. The barmaid-
I hear the cannon booming peace and love.
repels him no less than the ferocious realism wife Jenny and her cad of a brother are the Poor soul! I came in love to bring you peace,
which is one side of Grasso's talent. Here studies which the making of Mr. That peace of God which passeth understanding.
Why squat here spinning crafty labyrinths,
we strike the limitation or prepossession of Maugham's “tragedy”; beside these care- Jetting your filthy network o'er the globe ? '
a critic who is otherwise agreeably catholic fully observed types their upper-class com-
You think to bind the future? Poor grey spinner !
in his tastes and ardent in his appreciations. panions show curiously attenuated and
Fate, the blind housewife, with her busy broom
Shall shrivel at one sweep your giant web
Two qualities of the born critic of the bloodless. Lady Frederick herself, with And leave a little naked scuttling spider!
theatre Mr. Walbrook possesses. He has her Irish charm and reckless good-nature, Adequate rhetoric, we allow, but it soon
not allowed professional routine to get on
and the scene of the dressing-room in which needs to take breath, and it is facile rather
his nerves or stale his sympathies, and with she disillusions her young lover, are the than inspired.
this freshness of curiosity he combines the elements which should still preserve the
happy knack of being able to reproduce comedy named after her a place on
exactly his impressions in print.
An enthusiast if ever there was one, Mr.
But our stage. “Jack Straw' should be worth
he is
scrupulously eager to make reviving so long as Mr. Hawtrey is at
E. Gordon Craig has a knack of putting
all acknowledgments of pleasure received hand to impersonate its imperturbable off those who would in ordinary circum-
that he deems it his duty to mention the waiter-Archduke, or Miss Lottie Venne can stances sympathize with his idealism, just
work of every actor or actress who helped appear as the prince's vulgar and virulent because he too often assumes the mystic
in an artistic ensemble ; and since he gener-
hostess.
of the prophet and talks with
ally postpones till the last paragraph or The dialogue as a whole bears close
confident preciosity about projects which
are still in the air. Nobody with any
two his tributes to a playwright's interpre- scrutiny very well. There are phrases that
ters, the symmetry of his notices sometimes are rather too stilted and self-consciously experience of the stage will deny that this
suffers. But these are the penalties of the literary in ‘A Man of Honour,' phrases in
son of the theatre has a right to speak
conditions of hustle under which many which the characters talk bookishly and
about its art with some authority. He has
reviewers perform their work, and of the with too great an addiction to metaphor. in his day served his apprenticeship as an
ephemeral character of not a little of the While the author's wit flashes out at
actor; he has done work in the way of
matter that demands their attention.
nearly every sentence in Lady Frederick, scenic design, invention of costume, experi-
ments in lighting, and stage-arrangement
too
Perhaps the most interesting_section of it often has pedantic a setting.
Mr. Walbrook's volume is its Preface, in The epigrams smell of the lamp. They interest, not only in this country, but on
generally, that has attracted attention and
which, contemplating the growth of the
seem to have been shaped and re-shaped the Continent as well; he has devoted him-
repertory system outside London, he ex- till they have lost something of their spon-
presses renewed hope for the future of the taneity. Mr. Maugham has the excuse of self whole-heartedly to a study of the theatre
and the possibilities of fashioning therein a
British theatre.
putting many of them into the mouth of a
ponderous spokesman, Paradine Fouldes, living and a progressive art.
and he would probably urge also that stage What his attitude is in his book On the Art
Now that Mr. Somerset Maugham has speech needs a certain formality and elabora of the Theatre, (Heinemann) will be familiar
published three of his plays : A Man of tion if it is to carry across the footlights to all those who read the two dialogues he
Honour, a Tragedy in Four Acts ; Lady But surely Mr. Shaw has shown that it is published some while ago with that title,
Frederick, a Comedy in Three Acts; and possible to combine colloquial diction with and now reprints with other rather discur-
Jack Straw, a Farce in Three Acts (Heine- what is vocally effective. The same stiff- sive papers which have been contributed from
mann), there remains only one prominent ness is to be found to a lesser extent in time to time to The Mask. He would do
English dramatist who has not subjected
Jack Straw'; here again the witticisms, away with actors and playwrights alike, and
his work to the ordeal of print. That is
and not merely those of the Archduke, are he would banish so-called realism in the
Mr. Barrie, who, one may be sure, could as
sometimes a trifle laboured, and rhythm is matter of scenic effects. Believing that
safely afford to do so as Mr. Maugham secured at the expense of naturalness and the human body is a bad instrument for
himself. The two men have this much simplicity. Mr. Maugham would gain by art, because it is always at the mercy of
in common, besides being the most
correcting this weakness in an otherwise emotion, and has not the automatism of
popular and
sought-for entertainment- vivacious style.
complete self-control, he would prefer the
makers of our day, that they wore both
marionette to the live player, but a mario-
Dovelists before they turned playwrights,
We criticized Mr. Israel Zangwill's drama nette made beautiful and permitting of
and both stand high in general repute as of modern world-politics when it was staged graceful movements, not jerky and ugly, as
men of letters. It is not conceivable that by Sir Herbert Tree at a memorable matinée is the puppet of to-day. Convinced that
the printed script of 'The Admirable
two months ago, so that there is no need to audiences
to see rather than to
Crichton' could fail to enhance the fame
of the author of 'Sentimental Tommy'; in book form, except in respect of one point
say much more of it, now that it appears hear, and that appeals to more senses than
one furnish only confused and confusing
it is certain that the novelist who gave us
The Merry-Go-Round has no need to blank verse
on which judgment was then deferred--the messages, he would concentrate all energies
employed by the author. on satisfying the eye and the imagination in
blush for his earliest essays in drama as
The reader must not expect great poetry the theatre, and would dispense with the
they show in type.
in The War God, a Tragedy in Five Acts services of the dramatist. An idea should
Mr. Maugham has chosen to inaugurate (Heinemann), but he may count on finding be conveyed in his playhouse of the future,
his series with the most serious of all his
that is almost uniformly fluent, and words might be used as well as scenery
compositions, ' A Man of Honour'; his first and rises, when the occasion demands, to and action, for Mr. Craig's motto combines
stage success, Lady Frederick'; and the considerable heights of eloquence. If the “ light, sound, and movement. But the
liveliest and most fantastic of his lighter dramatist needs any defence for employing libretto of such dramas as he conceives of
plays, ‘Jack Straw,' which he calls down- & medium which, after all, is still in would be unimportant, except in so far as it
right a farce. On his technical skill, his use in the theatre, he has it in the fact that gave opportunities for the charms of voice.
wit and his happy sense of humour, and his blank verse adapts itself as readily to Assured in his own mind that actuality,
his capacity for phrasing effectively, there homely talk as to rhetoric, allows equally of accuracy of detail, is useless upon the
is no need to dilate on the present occa- the rapier-play of wit and the broad effects stage," he feels nothing but ridicule for what
sion. Among our younger play-writers there of humour, and runs for the most part is “ realistic
effective in stage-
is no other so accomplished or versatile as smoothly and straightforwardly. Now and production, and insists that the secret of the
he; and though he has been sometimes again he succumbs to the device of altering art of the theatre is to create beauty. The
reproached in these columns with turning the natural order of his sentences so as to artist on whom he relies for that is a stage-
tastes of the frivolous, his ability has never
secure
the rhythm of his line, and there manager who
takes his functions seriously,
are times when his verse tends to become and insists on controlling all the crafts
been denied.
which go to the presentation of the play.
6
come
verse
or
prosaic.


## p. 24 (#36) ##############################################

24
No. 4393, Jan. 6, 1912
THE ATHENÆUM
START THE
NEW YEAR
WELL.
reserve.
Hº
seems
Webster's
New
International
Dictionary.
CONTAINING
5 Lines of Pearl.