The first, My Jesus sets me Merman, is a
crystallized
idyll
, but the vintras (Louis), L'OR ET LES Roses, tragédie.
, but the vintras (Louis), L'OR ET LES Roses, tragédie.
Athenaeum - London - 1912a
& C.
Black.
)
medan monuments,
administra- wyn's eye for a grandiose subject and his
tion, epigraphical work, and the like. There instinctive sense of perspective, which enable
This book deals with a fascinating subject, are a number of appendixes.
him to maintain so confidently the plastic
but when its author refers to the inde-
unity of a drawing. No. 14, Cathedral,
fatigable Garafalo, whose already too Nash (Joseph), THE MANSIONS OF ENGLAND Cahors, is an excellent example among the
long list of authentic works has been
IN THE OLDEN TIMES.
water-colours of these qualities.
Heinemann
swollen by looking on him as the school- To turn over the pages of this fine volume In some of the large-scale figure drawings,
boy did on the two Apostles — as almost is to be carried back to the Early Victorian such as Nos. 12, 30, and 32, and in a lesser
' ,”
view of architecture. Sixty years ago the degree in the studies (36 and 37) for
are constrained to wish she could have intere than thentiment permet are inclined
to oppressive tense of the professional model
assumed a similar pious faith in dealing suspect it of being largely an affectation posing at very close quarters, by reason of
with most of the painters she passes under of fashion. Nash's drawings have, however, the artist's exaggerated rendering of effects
review. Had she done so, we might have a very real value. Not only do they record of salience or recession in muscular details
found rather more continuity and less re- faithfully the mansions of England as they at the expense of general projection of the
petition in what she has to say concerning existed in his day, but they also reflect group as a whole. It is fair to recognize,
à branch of painting which, in any case,
something of the atmosphere and outlook of however, that this fault is to some extent
their time. In spite of the care taken by remedied in the plates themselves, so that
has many aspects in its development the draughtsman to render the figures in in No. 22, The Crucifixion, and No. 35, The
and is difficult to treat in an orderly the spacious courts and galleries in keeping Nativity, there is a distinct attempt to
manner. In every chapter we find evidence with the style of architecture, Victorian restrain the exuberant line which makes the
of the author's deep feeling for and accessories and the Victorian point of view studies too lively to be quite serious. One
delight in landscape, but the accompany- peep out of the pictures. Nash's drawings of Mr. Brangwyn's habits of invention seems
ing display of perhaps creditable, but had considerable vogue, and helped to to be that of casting about, in face of any
renew an interest in architecture.
largely extraneous, learning might advan-
The book picturesque setting he may stumble upon,
was used as a short cut or pattern book by to see which of the traditional subjects of
tageously have been relegated to the the amateur and the untrained architect, ancient art can be forced into the new
index.
and was
no doubt indirectly responsible mould. In the case of No. 35, the spiral
The narrative being encumbered by the for a large and futile expenditure of bricks staircase leading up into a loft is a not inapt
necessity of pursuing its course seriatim and mortar, and the so-called restoration accessory to a Nativity, the design being
from individual painter to painter, the rain reality destruction -- of many fine magnificently picturesque without mucń
houses
loss of seriousness. The choice of the
author has hardly elbow-room to do more
than trace a gradually increasing com- little Introduction
Prof. Blomfield has written an admirable Crucifixion is more voulu, and, although
enormous viaduct as a background to the
plexity of realistic presentation, which He gives a brief account of Nash and sloping cross-beams of the Crucifixion, and
it serves some purpose as balancing the
she is inclined to represent too exclusively his airs, with some discussion of the
as an advance. She is not concerned to state of architecture at the time. The value fantastic perversion of historic facts, inas-
so steadying the design, it seems a wilfully
register certain counterbalancing losses, of the volume lies in the accuracy of the much as it plunges Golgotha into a profound
consideration of which prevents us from drawings as records, also as examples of
ravine.
adopting too patronizing a tone towards lithography of an out-of-date sort; as such
the apparently childish efforts of a primi- they will interest the lover of old buildings
tive art. By its consistency and purity many difficulties to overcome in the follow-
The enormous scale and lavish use of
and the draughtsman, who no longer has so
“ foul biting in Mr. Brangwyn's plates
a simple method may impose itself on the ing of his art.
will sometimes be forgiven for the sake of
beholder more than a copious but miscel-
the dramatic force of the composition.
laneous representation, and by virtue of Salter (Emma Gurney), NATURE IN ITALIAN
We may compare it with the classic perfection
its sincerity the former may often show
ART:
A STUDY OF LANDSCAPE BACK-
of Meryon, as shown in the superb prints
us figures moving in a landscape as real GROUNDS FROM GIOTTO TO TINTORETTO, (on the special green paper_beloved of
as themselves, when the personages of a
7/6 net.
A. & C. Black collectors), Le Petit Pont (48), Tourelle, Rue
de la Tixanderie (49), St. Etienne du Mont (51),
later painter are patently projected against
a lovely painted background.
Sotheby, Wilkinson & Hodge : CATALOGUE kunst's Gallery. Among these masterpieces
and Tour de l'Horloge (52), at Mr. Gute-
OF A LARGE AND IMPORTANT COLLEC-
By regarding as outside the scope of
OF JAPANESE COLOUR PRINTS,
it must be admitted that the commonplace
her work discussion of the relations of the
SURIMONO, AND ILLUSTRATED BOOKS,
and muddled Pont au Chango (first statē, 50)
art she deals with to modern landscape,
the Property of Sir Frank Swettenham,
makes a very poor figure. We submit that
51
the author leaves the intention of some
this etching has little intrinsic value, and
that the esteem in which it is held is largely
of her phrases rather ambiguous. She
The work of cataloguing is adequately fictitious - a mistaken tribute to the
is entitled to refer to Bellini's preference
done, and the reproductions are excellent.
glamour of the name of Meryon, not a
for “full sunlight” in his pictures, and
recognition of his artistic qualities.
to the
truth of this or that natural
The exhibition includes examples of lesser
effect, if she makes clear the degree
etchers of his day, such as Lalanne, whose
and kind of truth implied, and what
TWO EXHIBITIONS OF ETCHINGS.
Demolitions (30) is a link with the eigh-
characteristics of sunlight stood for sun-
teenth century-of Canale, let us say;
THE prolific talent of Mr. Frank Brangwyn while No. 35, Trouville, Low Tide, will
light in Bellini's art. It is because we again fills the Gallery of the Fine Art Society command admiration by the darting pre-
believe she could have written in illu- with work of his usual vivacity. Of the cision of its more fluent line. There are
minating fashion on these and many other etchings, The Broken Christ, Messina (3), three fine prints by Millet, one of Rousseau's,
points that we regret to find her work so and the large Nativity (35) are the best, the and a series by Charles Jacques, one of the
clogged with biography as to prevent technique of the former being inspired, best of which (9), singularly modern, re-
adequate treatment of the paintings them- brandt's later work, while its lighting is based The less-inspired plates of Jacques and
,
selves. The illustrations are admirably on the supposition of a thoroughly Rem-Adolph Appian recall the pen drawings
chosen.
brandtesque stage miracle, whereby a tiny' which used to illustrate Salon catalogues.
TION
## p. 446 (#338) ############################################
446
No. 4408, APRIL 20, 1912
THE ATHENÆUM
Τ
6
are
6
6
6
DR. A. K. COOMARASWAMY is lecturing In his First Sonatina in A minor, a
next Wednesday evening to the India later work - at any rate it is marked
Fine Art Gossip.
Society, at 21, Cromwell Road, S. W. , on Op. 74—the second of its two movements
Rajput Painting. '
is also in Chaconne form, but, though
At the Dowdeswell Galleries the water-
The date of Sargon of Accad, which was
the writing is full of clever points, it is
colour drawings by Mr. O. Hall are studies formerly accepted as about 3800 B. C. , but
of lighter character : there is more nature,
for his oil paintings, and many of them far which scholars have of
late been inclined to
if less art, in the music. It is much
superior to the latter in spontaneity and
reduce by 1,000 years, is the basis on
easier to play than the above-mentioned
simplicity of statement. Nos. 7; 1! , 12, 26, which most of our systems of chronology Chaconne, both in the manual and pedal
and 30 are quite admirable designs, the
colour fair and brilliant within the limits of complicated by the fact that the name of
are founded. The problem has been much parts.
Op. 72 is entitled Trois Impressions,'
the mild and harmonious palette employed. Sargon occurs more than once in early
and they named Harmonies du
He seems unable to resist the temptation of Babylonian records ; but the learned Domi. Soir,? . · Clair de Lune,' and 'La Nuit’re-
degrading it, in his more elaborate oil nican Father Scheil, in a communication spectively: Here the composer is entering
paintings, with a tortured overlay of wiry to the Académie des Inscriptions, has now
the domain of programme music; he is
line drawing, which obscures also an original done something to simplify it.
He has found trying to translate into tones the impres-
impression of form not without compactness
on a tablet lately brought to light that the sions which he has received from nature
and plastic sense. The drawings we have
fifth king of Agade bore the name of Sargani. under different aspects. The three pieces are
cited would be creditable as coming from sarri, and was therefore much later than short, simple, and interesting.
any artist.
Naram-Sin, who may easily have been the
M. JEAN RAY's designs, Nos Chers Bébés,
son of Sargon or Sarrukin, the founder of
are presented in agreeable fashion at the the dynasty. This has been Father Scheil's
Goupil Gallery, so that the decorative effect contention since 1908, and agrees with the
Musical Gossip.
of the room is at least agreeable at first conclusions reached, on slightly different
sight. The content of the drawings is grounds, by Mr. L. W. King. The rival THE programme of the Endowment Fund
usually slight enough. La Nouvelle (7) theory, which would make Naram-Sin later Concert of the Queen's Hall Orchestra
shows, however, some observation of charac than Sargani-sarri, has therefore received a at Queen's Hall last Saturday afternoon
ter in the vein of Boutet de Monvel, though
set-back.
included Wagner's Meistersinger and
even here we wonder why, because they are M. JOSEPH DÉCHELETTE, in a communica- Tannhäuser : Overtures, also the Lohen.
reduced to a single tone, the poplars (or tion to the same Académie, studies the grin’ and Tristan' Preludes, the last-
cypresses) need be transformed into the famous
named with the ending which the composer
vaso of Hagia Triada, wrote for one of his Paris concerts in 1860.
reaper
Jikeness of wing feathers. No. 15, Les which is one of the most interesting monu-
Aïeules, is another work with some feeling ments of Minoan art.
In addition to these, there was the Beet.
The figures carved
for rhythm, some aspiration after purity upon it in low relief show a procession of Elman gave an admirable rendering. A
hoven Violin Concerto, of which Mischa
of line; but too many of the personages men bearing sheaves and agricultural imple-
of M. Ray's panels might have been adopted ments, in the midst of whom is a shaven substantial increase must have been made
from the pages of the English comic papers, headed personage ; and M. Déchelette has would alone have drawn a large audience.
to the fund, for so popular a programme
being weak in draughtsmanship and feeling no difficulty in showing that they represent
for character.
a ritual procession to the altar of a body or
In addition there was a novelty, a work
Ar the Leicester Galleries Mrs. Knight is company of sacrificers, headed by a priest. for violin and orchestra entitled Memento
the most capable exhibitor. She had a
He considers it the record of the religious Mori, by the Hungarian composer Max
feeling for colour, lively but not distinguished, according to him, the hecatombs of Homer's
ceremonies which immediately preceded, Vogrich, who has written several operas,
none of which, however, has been heard in
and a fluency of draughtsmanship which is
time.
England. The work in question has a
in itself disastrous, resulting in the facile
programmo: it depicts the last moments of
mastery of the illustrator of popular maga-
à Trappist monk. The violin solo is sup-
zines. The small drawing of a child Clean-
posed to tell of his anguish and despair,
ing her Teeth (36) is the best of the designs,
MUSIC
while in the orchestra are heard the Memento
but Nos. 15, 19, and 21 show considerable
Mori cloister bell, the dirge of the monks, &c.
ability.
This programmo offers striking contrasts,
Ar the Baillie Gallery the only works of Organ Music. By Sigfrid Karg-Elert. in character:
and the music is appropriately dramatic
appreciable quality are certain small water- (Novello. ) — The composer in his music thoughts, while clever realistic effects are
it expresses emotions and
colours by Mr. William Wildman, such as
makes use of old forms, yet at the same
Albert Bridge (18) and London Bridge (16). time there is overwhelming evidence that music and that is the true testit has no
not wanting. Judged, however, as absoluto
Portland Road (14), if less massive, is neat in spirit he is a modern. His Op. 73 is deep interest, no compelling power.
and compact, but these very slight impres- entitled Chaconne (35 Variations on
sions are acceptable only when they remain Basso Ostinato) and Fugue Trilogy with
Miss WINIFRED PURNELL, a Hungarian
crisp and frankly summary: The perfect Choral. ? Neither a Chaconne nor an ela pianist aged sixteen, made her first appear.
fusion of water-colour blended while it is borate Fugue such as the one before us
ance in London on Tuesday evening at
wet usually results, in Mr. Wildman's hands, gives a composer any real opportunity of Bechstein Hall. She lacks restraint both
in a false finish which cheapens his real displaying individuality, but Karg-Elert, as regards tone and tempi, and in the highly
talent for seeing the simple design under- by great variety of rhythmic figures and impassioned opening Allegro of Chopin's
Jying a natural effect.
by harmonic progressions, also by a recitative
B minor Sonata some passages were blurred.
WITH Mr. Martin Hardie editor, passage, cadenza, and a dramatic coda, Although in every piece she played one
to take exception, she
Messrs. A. & C. Black are beginning the tries to make us forget the ostinato which could find cause
revealed exceptional gifts.
publication of new, inexpensive art confines his imagination. There are, how. nevertheless
series called “ Artists' Sketch-Books. ”' Each
ever, some powerful moments, and no lack The young lady has temperament, fine
volume will contain twenty-four reproduc- of skill — the composer is, indeed, master of technique, a most sympathetic touch, and
tions of pencil drawings of well-known the technique of his art. The Fugue which strong feeling. The last quality was speci-
places. The first four Sketch-Books will be follows gives still stronger proof of this. It ally manifest in the Chopin Sonata, in which
London and · Edinburgh,' by Lester G. abounds in clever devices. A first and second she brought out all the poetry. It was the
Hornby; 'Paris,' by Eugène Béjot; and subject are developed separately, and after reading of a great artist. Criticism for the
Rochester,' by K. Kimball.
wards combined, and with them is associated time being was silenced : she got at the
a third subject, which seems evolved from very heart of the music. Her playing of
THE COMMITTEE of the forthcoming the basso of the Chaconne, while in an
Schubert's Moment Musical' in A flat,
Exhibition of Designs for Mural Paintings imposing coda is heard the Choral. In this Op; 94, No. 2, was remarkable for beauty
and for the Decoration of Schools, &c. , an-
Fugue will be found triple and quadruple and warmth of tone. Temperament and a
nounce a competition for the decoration of double counterpoints, stretti, inversions, highly strung nature easily account for any
the vestibule of the Middlesex Hospital. Mr.
&c. No composer would venture on such exaggerations : they were the outcome of
Edmund Davis, a Governor of the hospital, a work unless well acquainted with Bach, qualities which few pianists possess in so large
has generously arranged for the rebuilding so that it is not surprising to find solid a measure as Miss Purnell.
of the entrance with a view to mural decora- traces of that influence. Karg-Elert is not
tion. The circular giving particulars may slavishly imitative, but frankly acknow. Gardiner Concert at
The programme of the third Balfour-
Queen's Hall on
be dobtained from the Hon. Secretaries, ledges the source of his strength; the new
Mural Decoration Committee, Crosby Hall, elements, however, in his music give to it ties. Mr. Percy Grainger's 'Mosk Morris,'
Wednesday included some interesting novel;
S. W.
life and interest.
for seven-part string orchestra, is bright,
a
as
a
2
6
$
:
## p. 447 (#339) ############################################
No. 4408, APRIL 20, 1912
447
THE ATHENÆUM
Mr.
was
>
cleverly scored, and characteristic, and it was
Curtis (Elizabeth Alden), THE NORSEMAN,
rendered with point and life under his
DRAMA
A DRAMA IN FOUR ACTS.
direction. Of the composer's skill in works
Portland (Maine), Mosher Press
of short compass there is no question. We
There is little that is distinctive in this
shall hope one day to hear a work from NOTICES OF NEW BOOKS.
poetic drama of the fates of Frithiof and
his pen" which will show how he can
(Notice in these columns does not preclude longer and the blank verse is correct, but it lacks
Ingeborg. The characters are well defined,
creato and develop important themes.
review. )
As yet he has only given proof of Alice Bland and the Golden Ball, Phoca and inspiration or power of phrase to prevent
great skill and tact, and a thoroughly
History Repeats Itself, Tom, Cousin its growing wearisome. It is at best a
healthy feeling. The piece was followed
Mary, and Red Riding Hood, by C. A. dignified performance, not rising above the
by
Balfour . Gardiner's delightful
Dawson-Scott; Mr. Sampson, by Charles mediocre, and seldom sinking below it.
Shepherd Fennel' Dance, which
Lee, 6d. net each.
Dent Ellis (Dorothy May Brodrick), THE LIGHT-
heard more than once during the Prome- We should like to direct a large circle of BEARERS : A MISSIONARY PAGEANT, 6d.
nade Concert season last year. Later in the harassed entertainment-mongers to these
net.
Ely, Tyndall
evening his part-song "The Stage Coach,' carpet plays.
carpet plays. 'Mr. Sampson' is a little A dull and apostrophic masque, composed
novelty, proved attractive. Two Psalms gem, treating the relationship of two middle- of allegorical and historical figures, and not
for chorus and baritone solo (Mr. Ernest aged women and their next-door neighbour containing even the semblance of poetic
Groom) by Grieg, from Op. 74, were not well with that humour which is akin to pathos. merit.
placed, coming after the two works just • Phoca,' with its echo of the Forsaken
mentioned.
The first, My Jesus sets me Merman, is a crystallized idyll
, but the vintras (Louis), L'OR ET LES Roses, tragédie.
free,' is interesting; the second is of simple author's touch is a trifle heavy for the gos-
Paris, Publications Encyclopédiques
hymn-tune pattern. Some old English samer opportunities of the playlet.
This tragedy, dealing with mediæval
madrigals were admirably rendered by the
Naples, is in the true Romantic manner. We
Oriana Madrigal Society, under the able Creighton (Charles), M. D. , AN ALLEGORY OF
had imagined that the age which greeted
direction of Mr. Charles Kennedy Scott.
OTHELLO, 3/6 A. L. Humphreys such productions was long past. Mar-
The author in his Introduction suggests shalled in aid are all the traditional acces-
A letter of Mendelssohn's, recently adver-ample reasons for not suspecting allegory in sories-gloomy, vaulted apartments, secret
tised for sale by J. A. Stargardt of Berlin, “a great design firmly grasped and naturally stairs, rapiers in profusion, and grinding of
recalls an early attempt to get him to unfolded ” likeOthello' 'He then suggests bolts in iron doors. The author's smooth
write an opera.
The Chappell firm com- plenty of objections to the parallel he puts
missioned J. R. Planché, who wrote the forward between Bunyan and Shakespeare: emotion with alarming facility, but leaves
verse runs through the whole gamut of
Oberon’ book for Weber, to prepare one In respect of moral purpose, of course, the us unconvinced and uninspired.
for Mendelssohn. The composer was informed parallel fails ; for the dramatist could hardly
of this, and in replying from Leipsic on Feb. be said to inculcate a moral if he declined to
ruary 12th, 1838, stated that a “good, truly tell what the moral was. ” It is an odd and
poetical libretto had long been his desire. infructuous sort of allegory, the full expla-
Play-Making : a Manual of Craftsmanship.
This is the very letter (written in English) nation of which has escaped the close scrutiny By William Archer. (Chapman & Hall. ).
which has been advertised for sale. After of the wits of three hundred years and more,
To the minds of some lovers of art there is
a long correspondence between Planché and, when we discover the quality of Shake-
a curious fascination in the study of art's
and the composer, Planché agreed to adopt speare's hints, we can only conclude that it processes. For them enjoyment, and even
all Mendelssohn's suggestions, and the manu-
script was sent in 1839 a second time to stand the weakest allegorist in print.
has been our good fortune to misunder. beauty, are enhanced by comprehension of
the technical skill with which beauty has
Leipsic. No letter or message respecting it
Shakespeare was, indeed, an extraordinary been presented, and into their recollected
was ever received from Mendelssohn, and
It appears that he meant King pleasure in a beautiful thing consideration
the manuscript was not returned.
Lear' to be a complete allegory of the
of its how and why enters largely. Any
In the long notice of Mendelssohn in Reformation in England.
“Othello is a
reader of this pattern will find congenial
Grove’s ‘Dictionary' there is no mention of religious allegory, too. The Turks in the pasturage in Mr. Archer's book; and if
this, not even in the new edition, revised first act are the Nonconforming clergy, mark it, their critical perceptions would
theatregoers at large would but read and
by, F. G. Edwards, an authority on Men in the reign of Elizabeth. Brabantio is
delssohn. Another proof of its being little Archbishop Whitgift. The feint on Rhodes become so much sharpened as to render
known is afforded by a notice of some is an abortive attack on doctrines (roads, or
impossible the performance of some plays
Mendelssohn
Concerts in The Athenæum of well-trodden highways of thought), Cyprus, happily,
from the ordinary writer of hand-
pretty well received. Differing,
December 9th, 1871. Speaking of the fasti-
diousness which prevented Mendelssohn monies. Iago represents Bacon as the books, Mr. Archer does not frame a system
from writing an opera, the writer remarks that anonymous pamphletoer whose attack of rules, but rather (if the medical term
"' dissects ont ” prin-
he could have had the assistance of Scribe severely wounded Hooker in 1599. Hooker may be admitted)
or Planché the very men who had been in is Montano ; and Othello's story is that of ciples from actual plays, showing in how
negotiation with Mendelssohn. In last the Lollards, his marriage to Desdemona many ways these principles may be fulfilled,
Saturday's Notes and Queries, in the article meaning his acceptance of the traditional and, incidentally, what excellent reasons
· Charles Dickens,' Mr. John Collins Francis sacrament of the Altar in England. When
often underlie our unreasoned dissatisfaction
refers to Chorley, who, after his retirement Brabantio called his daughter a
with certain passages of various plays.
from the staff of The Athenæum in 1868, still (I. iii. 195), he was thinking of Bishop, Jewel; of specific cases, the book is full is sound and
The criticism of which, in the examination
wrote for it occasionally. Chorley was an
intimate friend of Mendelssohn's, and must, taught him to put on other children are the penetrating throughout, but it is, perhaps,
when last acts come under consideration
one would think, have heard of one or both Anglican Articles of Religion. Doubtless,
series of correspondence. The notice was by when Cordelia called her sisters“ jewels,"
that its breadth of view is most marked.
Gruneisen, but no reply came from Chorley. Shakespeare was thinking of two bishops,
For example :
The latter died soon afterwards, February or the one was of sufficient importance to be “I suggest, then, that the modern tendency to
16th, 1872, but was apparently in good duplicated.
take lightly Aristotle's demand that the drama
health until the day before his death.
Those who like this sort of reasoning will should have a beginning, a middle, and an end'
arises from the nature of things, and implies,
find it carried out here in detail, with refer-
not necessarily, nor even probably, a decline in
ences to Warburton and other critics. We craftsmanship, but a new intimacy of relation to
Concert, 3. 80, Royal Albert Hall.
can only say that, if Shakespeare found life, and a new sincerity of artistic conscience.
Sunday league Concert, 7, Queen's Hall.
the game a congenial pastime, we do not. I suggest that the weak last act,' of which critics
and
so often complain, is a natural development from
We are content with 'King Lear
which authors ought not on occasion to shrink,
• Othello' as they stand_to the uninitiate and of which critics ought on occasion to recognize
Strolling Players' Orchestral Society, 8. 39, Queen's Hall. eye, and we can offer Dr. Creighton no the necessity. To elevate it into a system is
Madame Leschetizky's Pianoforte Recital, 3, Bechstein Hall.
Amy Francis and Nancy Hancock's Mâtinée, 3, Steinway
encouragement to publish the several dis- absurd. There is certainly no more reason for
Frederick Lamond's Beethoven Recital, 3, Bechstein Hall guises in five or six other plays. We do not deliberately, avoiding an emphatic ending than
for mechanically forcing one. But authors and
Madame Sperann Calo's Vocal Recital, 8. 15, Bechstein Hall.
Donald F. Tovey's Chamber Concert. 8. 30. Æolian Hall.
propose to alter our whole conception of
critics alike should learn to distinguish the themes
Shakespeare on such evidence. It is evidence which do, from the themes which do not, call for
Thomas Perceval Fielden's Pianoforte Recital, 3. 15, Æolian
at best of no importance, for he who speaks a definite, trenchant solution, and should handle
Loon Rain'. Vocal Recital, 8. 15, Bechstein Hall.
of the all-sufficing beauty of the poetry theni, and judge them, in accordance with their
inherent quality. ”
Joan Manda and Frederick Lamond's klecital, 3, Bechstein
in its plain meaning appears to us to con.
demn some of the poorest
“ likelihoods of Mr. Archer's style of writing is weighty,
Germaine Schnitzer's Pianoforte Recital, 3. 15, Steinway Hall.
modern seeming" that have been added to but somewhat heavy. It does not suggest
Shakespeare.
Dettmar Dressel's Violin Recital, 3. 30, Dechstein Ball.
natural fuency with the pen.
man.
now
* jewel
PERFORMANCES NEXT WEEK.
Sun.
Mon. -8AT, Royal Opera, Covent Garden.
Mon. -Sat. London Opera House, Kingsway.
Mox. Doris Woodall's Lieder Recital, 8, Bochstein Hall,
Tors Kathro Bentineke's
Vocal Recital, 3 30, Beohstein Hall.
Clay Thomas's Vocal Recital, 8, Æolian Hall.
WED.
Hall.
THURS. Twelve o'clock Chamber Concert, Rolian Hall.
Joneph Klosky's Violin Recital, 3, Bechstein Hall.
וופון1
Aall.
Royal Amateur Orchestral Society, 8. 30, Queen's Hall,
PRI.
Hall.
Bar.
Queen's Hal Orchestra, 3, Queen's Hall.
Alexander Raxb's Pianoforte Recital, 3. Folian Hall.
## p. 448 (#340) ############################################
448
No. 4408, APRIL 20, 1912
THE ATHENÆ UM
no less than his wife, has given himseli JAMES CLARKE & CO.
In , ,
Dramatic Gossip.
another matrimonial partner, and has only
come home to make the acquaintance of his
A SELECTION OF NEW BOOKS.
We continue to follow the ramifications daughter—a crushed little girl whom he
of the Censor's ban with breathless interest. saves from a marriage of convenience, and FIGHTERS AND MARTYRS FOR
We observed his crusade against Puritan helps to the man of her heart. Barbara's THE FREEDOM OF FAITH.
ism; we beheld his ægis uplifted to protect love-affairs can have but one ending, when
By LUKE 8. WALMSLEY. 512 pp. Large
the display of irresponsible and inconse- once her father appears, and it is the
crown 8vo, cloth boards, gilt top, 88. Bd.
quential immorality; and now we see him ludicrous predicament of the victims of
net.
withholding from the public gaze a play bigamy which is the centre of interest.
The book has a frontispiece in colours and
which, if it carry a didactic motive with it, In his second act Mr. Brighouse concentrates
16 illustrations on art paper of Wyolif, Savonarola,
is a vindication of the cardinal doctrines on these with the happiest results, thanks to Luther, Tindale, Knox, Henry Barrowe, the
of Christianity. We think, indeed, that Mr. the clever acting
of Mr. Dennis Eadie, Miss Pilgrim Fathers, 'Cromwell, Milton, George Fox,
Zangwill does injustice to the “ Next Helen Haye, and Mr. Hubert Harben. Bunyan, Watts, Wesley, William Carey, John
Religion. ” As a constructive faith, it is His first act, besides being tame and con- Williams, and Livingstone ; each having a long
given no substance, and its equipment in ventional, gives away his plot, while the chapter in the book.
“The author has carried out his task with much
the shape of a temple, a ritual, an organ and third is mere uproarious farce, and really
success, and the book may be commended as in
choristers in the last act does not impress unnecessary.
us with the originality of its pioneers. "The
every way acourate and satisfying to the imagina.
MESSRS. W. HEFFER & Sons of Cam. tion. ”-Bookman.
Next Religion is inferior in technique, bridge will shortly publish, an edition of
grasp of reality, and massiveness of con. Shakespeare's Twelfth Night' which has CHARLES DARWIN AND OTHER
ception to 'The War God,' powerful as it is. been specially arranged and adapted for ENGLISH THINKERS: With. Reference
It alternates between the subtle dialectics performance at the Cambridge Theatre on
to their Religious and Ethical Value.
of destructive criticism and volcanic action April 30th and May 1st by the Cambridge
By 8. PARKES CADMAN, D. D. Large
in such a way as to obfuscate a central Repertory Company. The edition has been
crown 8vo, cloth boards, gilt top, 58. net.
impression. It is too long, lingers where it prepared by Mr. Orlando Barnett and Mr. ЕUCKEN AND BERGSON. Their
should be quickened up, and is inclined to A. F. M. Greig.
be unwieldy. Moreover, the credulity of
Significance for Christian Thought.
the religion-maker in the third act, his
'DENYS OF AUXERRE' is the title of a new By E. HERMANN. Crown 8vo, cloth boards,
29. Bd. net.
surrender to the arts of commercial exploita poetical drama in five acts by James Barton,
tion and garish publicity, leave us rudely which will shortly be published by Messrs. " A study marked by ability. ”— Timos.
disillusioned as to the strength of his per Christopher. Its theme is the story-traced
THE IMPERISHABLE WORD.
sonality and the impenetrability of his by Pater from the stained glass of Auxerre
gospel. He is vulgarized, and our respect
Cathedral-of a pagan revival in the Middle By W. CHARTER PIGGOTT. Crown 8vo,
for him wanes.
The creation of the wife is Ages.
cloth boards, 28. od. net.
more vital characterization. She is handled PLAYGOERS who go to the Globe Theatre the average man, who will find in his clear and
“Mr. Piggott writes on subjects of interest to
with poignancy, insight, and rare sympathy. to hear lilting music, and to see pretty careful expositions much that will at once stimu. .
The force of the play lies really in the dia. dresses and scenery vivified by attractive late and comfort. ”-Dundee Advertiser.
logue of the first two acts—always trenchant, principals and chorus, will probably, come
ironic, masterful, and at times broadening away well content with "The Pink Lady, PROBLEMS AND PERPLEXITIES
into lofty and full-mouthed harmonies.
which was produced on the 11th inst. It is By W. E. ORCHARD, D.
medan monuments,
administra- wyn's eye for a grandiose subject and his
tion, epigraphical work, and the like. There instinctive sense of perspective, which enable
This book deals with a fascinating subject, are a number of appendixes.
him to maintain so confidently the plastic
but when its author refers to the inde-
unity of a drawing. No. 14, Cathedral,
fatigable Garafalo, whose already too Nash (Joseph), THE MANSIONS OF ENGLAND Cahors, is an excellent example among the
long list of authentic works has been
IN THE OLDEN TIMES.
water-colours of these qualities.
Heinemann
swollen by looking on him as the school- To turn over the pages of this fine volume In some of the large-scale figure drawings,
boy did on the two Apostles — as almost is to be carried back to the Early Victorian such as Nos. 12, 30, and 32, and in a lesser
' ,”
view of architecture. Sixty years ago the degree in the studies (36 and 37) for
are constrained to wish she could have intere than thentiment permet are inclined
to oppressive tense of the professional model
assumed a similar pious faith in dealing suspect it of being largely an affectation posing at very close quarters, by reason of
with most of the painters she passes under of fashion. Nash's drawings have, however, the artist's exaggerated rendering of effects
review. Had she done so, we might have a very real value. Not only do they record of salience or recession in muscular details
found rather more continuity and less re- faithfully the mansions of England as they at the expense of general projection of the
petition in what she has to say concerning existed in his day, but they also reflect group as a whole. It is fair to recognize,
à branch of painting which, in any case,
something of the atmosphere and outlook of however, that this fault is to some extent
their time. In spite of the care taken by remedied in the plates themselves, so that
has many aspects in its development the draughtsman to render the figures in in No. 22, The Crucifixion, and No. 35, The
and is difficult to treat in an orderly the spacious courts and galleries in keeping Nativity, there is a distinct attempt to
manner. In every chapter we find evidence with the style of architecture, Victorian restrain the exuberant line which makes the
of the author's deep feeling for and accessories and the Victorian point of view studies too lively to be quite serious. One
delight in landscape, but the accompany- peep out of the pictures. Nash's drawings of Mr. Brangwyn's habits of invention seems
ing display of perhaps creditable, but had considerable vogue, and helped to to be that of casting about, in face of any
renew an interest in architecture.
largely extraneous, learning might advan-
The book picturesque setting he may stumble upon,
was used as a short cut or pattern book by to see which of the traditional subjects of
tageously have been relegated to the the amateur and the untrained architect, ancient art can be forced into the new
index.
and was
no doubt indirectly responsible mould. In the case of No. 35, the spiral
The narrative being encumbered by the for a large and futile expenditure of bricks staircase leading up into a loft is a not inapt
necessity of pursuing its course seriatim and mortar, and the so-called restoration accessory to a Nativity, the design being
from individual painter to painter, the rain reality destruction -- of many fine magnificently picturesque without mucń
houses
loss of seriousness. The choice of the
author has hardly elbow-room to do more
than trace a gradually increasing com- little Introduction
Prof. Blomfield has written an admirable Crucifixion is more voulu, and, although
enormous viaduct as a background to the
plexity of realistic presentation, which He gives a brief account of Nash and sloping cross-beams of the Crucifixion, and
it serves some purpose as balancing the
she is inclined to represent too exclusively his airs, with some discussion of the
as an advance. She is not concerned to state of architecture at the time. The value fantastic perversion of historic facts, inas-
so steadying the design, it seems a wilfully
register certain counterbalancing losses, of the volume lies in the accuracy of the much as it plunges Golgotha into a profound
consideration of which prevents us from drawings as records, also as examples of
ravine.
adopting too patronizing a tone towards lithography of an out-of-date sort; as such
the apparently childish efforts of a primi- they will interest the lover of old buildings
tive art. By its consistency and purity many difficulties to overcome in the follow-
The enormous scale and lavish use of
and the draughtsman, who no longer has so
“ foul biting in Mr. Brangwyn's plates
a simple method may impose itself on the ing of his art.
will sometimes be forgiven for the sake of
beholder more than a copious but miscel-
the dramatic force of the composition.
laneous representation, and by virtue of Salter (Emma Gurney), NATURE IN ITALIAN
We may compare it with the classic perfection
its sincerity the former may often show
ART:
A STUDY OF LANDSCAPE BACK-
of Meryon, as shown in the superb prints
us figures moving in a landscape as real GROUNDS FROM GIOTTO TO TINTORETTO, (on the special green paper_beloved of
as themselves, when the personages of a
7/6 net.
A. & C. Black collectors), Le Petit Pont (48), Tourelle, Rue
de la Tixanderie (49), St. Etienne du Mont (51),
later painter are patently projected against
a lovely painted background.
Sotheby, Wilkinson & Hodge : CATALOGUE kunst's Gallery. Among these masterpieces
and Tour de l'Horloge (52), at Mr. Gute-
OF A LARGE AND IMPORTANT COLLEC-
By regarding as outside the scope of
OF JAPANESE COLOUR PRINTS,
it must be admitted that the commonplace
her work discussion of the relations of the
SURIMONO, AND ILLUSTRATED BOOKS,
and muddled Pont au Chango (first statē, 50)
art she deals with to modern landscape,
the Property of Sir Frank Swettenham,
makes a very poor figure. We submit that
51
the author leaves the intention of some
this etching has little intrinsic value, and
that the esteem in which it is held is largely
of her phrases rather ambiguous. She
The work of cataloguing is adequately fictitious - a mistaken tribute to the
is entitled to refer to Bellini's preference
done, and the reproductions are excellent.
glamour of the name of Meryon, not a
for “full sunlight” in his pictures, and
recognition of his artistic qualities.
to the
truth of this or that natural
The exhibition includes examples of lesser
effect, if she makes clear the degree
etchers of his day, such as Lalanne, whose
and kind of truth implied, and what
TWO EXHIBITIONS OF ETCHINGS.
Demolitions (30) is a link with the eigh-
characteristics of sunlight stood for sun-
teenth century-of Canale, let us say;
THE prolific talent of Mr. Frank Brangwyn while No. 35, Trouville, Low Tide, will
light in Bellini's art. It is because we again fills the Gallery of the Fine Art Society command admiration by the darting pre-
believe she could have written in illu- with work of his usual vivacity. Of the cision of its more fluent line. There are
minating fashion on these and many other etchings, The Broken Christ, Messina (3), three fine prints by Millet, one of Rousseau's,
points that we regret to find her work so and the large Nativity (35) are the best, the and a series by Charles Jacques, one of the
clogged with biography as to prevent technique of the former being inspired, best of which (9), singularly modern, re-
adequate treatment of the paintings them- brandt's later work, while its lighting is based The less-inspired plates of Jacques and
,
selves. The illustrations are admirably on the supposition of a thoroughly Rem-Adolph Appian recall the pen drawings
chosen.
brandtesque stage miracle, whereby a tiny' which used to illustrate Salon catalogues.
TION
## p. 446 (#338) ############################################
446
No. 4408, APRIL 20, 1912
THE ATHENÆUM
Τ
6
are
6
6
6
DR. A. K. COOMARASWAMY is lecturing In his First Sonatina in A minor, a
next Wednesday evening to the India later work - at any rate it is marked
Fine Art Gossip.
Society, at 21, Cromwell Road, S. W. , on Op. 74—the second of its two movements
Rajput Painting. '
is also in Chaconne form, but, though
At the Dowdeswell Galleries the water-
The date of Sargon of Accad, which was
the writing is full of clever points, it is
colour drawings by Mr. O. Hall are studies formerly accepted as about 3800 B. C. , but
of lighter character : there is more nature,
for his oil paintings, and many of them far which scholars have of
late been inclined to
if less art, in the music. It is much
superior to the latter in spontaneity and
reduce by 1,000 years, is the basis on
easier to play than the above-mentioned
simplicity of statement. Nos. 7; 1! , 12, 26, which most of our systems of chronology Chaconne, both in the manual and pedal
and 30 are quite admirable designs, the
colour fair and brilliant within the limits of complicated by the fact that the name of
are founded. The problem has been much parts.
Op. 72 is entitled Trois Impressions,'
the mild and harmonious palette employed. Sargon occurs more than once in early
and they named Harmonies du
He seems unable to resist the temptation of Babylonian records ; but the learned Domi. Soir,? . · Clair de Lune,' and 'La Nuit’re-
degrading it, in his more elaborate oil nican Father Scheil, in a communication spectively: Here the composer is entering
paintings, with a tortured overlay of wiry to the Académie des Inscriptions, has now
the domain of programme music; he is
line drawing, which obscures also an original done something to simplify it.
He has found trying to translate into tones the impres-
impression of form not without compactness
on a tablet lately brought to light that the sions which he has received from nature
and plastic sense. The drawings we have
fifth king of Agade bore the name of Sargani. under different aspects. The three pieces are
cited would be creditable as coming from sarri, and was therefore much later than short, simple, and interesting.
any artist.
Naram-Sin, who may easily have been the
M. JEAN RAY's designs, Nos Chers Bébés,
son of Sargon or Sarrukin, the founder of
are presented in agreeable fashion at the the dynasty. This has been Father Scheil's
Goupil Gallery, so that the decorative effect contention since 1908, and agrees with the
Musical Gossip.
of the room is at least agreeable at first conclusions reached, on slightly different
sight. The content of the drawings is grounds, by Mr. L. W. King. The rival THE programme of the Endowment Fund
usually slight enough. La Nouvelle (7) theory, which would make Naram-Sin later Concert of the Queen's Hall Orchestra
shows, however, some observation of charac than Sargani-sarri, has therefore received a at Queen's Hall last Saturday afternoon
ter in the vein of Boutet de Monvel, though
set-back.
included Wagner's Meistersinger and
even here we wonder why, because they are M. JOSEPH DÉCHELETTE, in a communica- Tannhäuser : Overtures, also the Lohen.
reduced to a single tone, the poplars (or tion to the same Académie, studies the grin’ and Tristan' Preludes, the last-
cypresses) need be transformed into the famous
named with the ending which the composer
vaso of Hagia Triada, wrote for one of his Paris concerts in 1860.
reaper
Jikeness of wing feathers. No. 15, Les which is one of the most interesting monu-
Aïeules, is another work with some feeling ments of Minoan art.
In addition to these, there was the Beet.
The figures carved
for rhythm, some aspiration after purity upon it in low relief show a procession of Elman gave an admirable rendering. A
hoven Violin Concerto, of which Mischa
of line; but too many of the personages men bearing sheaves and agricultural imple-
of M. Ray's panels might have been adopted ments, in the midst of whom is a shaven substantial increase must have been made
from the pages of the English comic papers, headed personage ; and M. Déchelette has would alone have drawn a large audience.
to the fund, for so popular a programme
being weak in draughtsmanship and feeling no difficulty in showing that they represent
for character.
a ritual procession to the altar of a body or
In addition there was a novelty, a work
Ar the Leicester Galleries Mrs. Knight is company of sacrificers, headed by a priest. for violin and orchestra entitled Memento
the most capable exhibitor. She had a
He considers it the record of the religious Mori, by the Hungarian composer Max
feeling for colour, lively but not distinguished, according to him, the hecatombs of Homer's
ceremonies which immediately preceded, Vogrich, who has written several operas,
none of which, however, has been heard in
and a fluency of draughtsmanship which is
time.
England. The work in question has a
in itself disastrous, resulting in the facile
programmo: it depicts the last moments of
mastery of the illustrator of popular maga-
à Trappist monk. The violin solo is sup-
zines. The small drawing of a child Clean-
posed to tell of his anguish and despair,
ing her Teeth (36) is the best of the designs,
MUSIC
while in the orchestra are heard the Memento
but Nos. 15, 19, and 21 show considerable
Mori cloister bell, the dirge of the monks, &c.
ability.
This programmo offers striking contrasts,
Ar the Baillie Gallery the only works of Organ Music. By Sigfrid Karg-Elert. in character:
and the music is appropriately dramatic
appreciable quality are certain small water- (Novello. ) — The composer in his music thoughts, while clever realistic effects are
it expresses emotions and
colours by Mr. William Wildman, such as
makes use of old forms, yet at the same
Albert Bridge (18) and London Bridge (16). time there is overwhelming evidence that music and that is the true testit has no
not wanting. Judged, however, as absoluto
Portland Road (14), if less massive, is neat in spirit he is a modern. His Op. 73 is deep interest, no compelling power.
and compact, but these very slight impres- entitled Chaconne (35 Variations on
sions are acceptable only when they remain Basso Ostinato) and Fugue Trilogy with
Miss WINIFRED PURNELL, a Hungarian
crisp and frankly summary: The perfect Choral. ? Neither a Chaconne nor an ela pianist aged sixteen, made her first appear.
fusion of water-colour blended while it is borate Fugue such as the one before us
ance in London on Tuesday evening at
wet usually results, in Mr. Wildman's hands, gives a composer any real opportunity of Bechstein Hall. She lacks restraint both
in a false finish which cheapens his real displaying individuality, but Karg-Elert, as regards tone and tempi, and in the highly
talent for seeing the simple design under- by great variety of rhythmic figures and impassioned opening Allegro of Chopin's
Jying a natural effect.
by harmonic progressions, also by a recitative
B minor Sonata some passages were blurred.
WITH Mr. Martin Hardie editor, passage, cadenza, and a dramatic coda, Although in every piece she played one
to take exception, she
Messrs. A. & C. Black are beginning the tries to make us forget the ostinato which could find cause
revealed exceptional gifts.
publication of new, inexpensive art confines his imagination. There are, how. nevertheless
series called “ Artists' Sketch-Books. ”' Each
ever, some powerful moments, and no lack The young lady has temperament, fine
volume will contain twenty-four reproduc- of skill — the composer is, indeed, master of technique, a most sympathetic touch, and
tions of pencil drawings of well-known the technique of his art. The Fugue which strong feeling. The last quality was speci-
places. The first four Sketch-Books will be follows gives still stronger proof of this. It ally manifest in the Chopin Sonata, in which
London and · Edinburgh,' by Lester G. abounds in clever devices. A first and second she brought out all the poetry. It was the
Hornby; 'Paris,' by Eugène Béjot; and subject are developed separately, and after reading of a great artist. Criticism for the
Rochester,' by K. Kimball.
wards combined, and with them is associated time being was silenced : she got at the
a third subject, which seems evolved from very heart of the music. Her playing of
THE COMMITTEE of the forthcoming the basso of the Chaconne, while in an
Schubert's Moment Musical' in A flat,
Exhibition of Designs for Mural Paintings imposing coda is heard the Choral. In this Op; 94, No. 2, was remarkable for beauty
and for the Decoration of Schools, &c. , an-
Fugue will be found triple and quadruple and warmth of tone. Temperament and a
nounce a competition for the decoration of double counterpoints, stretti, inversions, highly strung nature easily account for any
the vestibule of the Middlesex Hospital. Mr.
&c. No composer would venture on such exaggerations : they were the outcome of
Edmund Davis, a Governor of the hospital, a work unless well acquainted with Bach, qualities which few pianists possess in so large
has generously arranged for the rebuilding so that it is not surprising to find solid a measure as Miss Purnell.
of the entrance with a view to mural decora- traces of that influence. Karg-Elert is not
tion. The circular giving particulars may slavishly imitative, but frankly acknow. Gardiner Concert at
The programme of the third Balfour-
Queen's Hall on
be dobtained from the Hon. Secretaries, ledges the source of his strength; the new
Mural Decoration Committee, Crosby Hall, elements, however, in his music give to it ties. Mr. Percy Grainger's 'Mosk Morris,'
Wednesday included some interesting novel;
S. W.
life and interest.
for seven-part string orchestra, is bright,
a
as
a
2
6
$
:
## p. 447 (#339) ############################################
No. 4408, APRIL 20, 1912
447
THE ATHENÆUM
Mr.
was
>
cleverly scored, and characteristic, and it was
Curtis (Elizabeth Alden), THE NORSEMAN,
rendered with point and life under his
DRAMA
A DRAMA IN FOUR ACTS.
direction. Of the composer's skill in works
Portland (Maine), Mosher Press
of short compass there is no question. We
There is little that is distinctive in this
shall hope one day to hear a work from NOTICES OF NEW BOOKS.
poetic drama of the fates of Frithiof and
his pen" which will show how he can
(Notice in these columns does not preclude longer and the blank verse is correct, but it lacks
Ingeborg. The characters are well defined,
creato and develop important themes.
review. )
As yet he has only given proof of Alice Bland and the Golden Ball, Phoca and inspiration or power of phrase to prevent
great skill and tact, and a thoroughly
History Repeats Itself, Tom, Cousin its growing wearisome. It is at best a
healthy feeling. The piece was followed
Mary, and Red Riding Hood, by C. A. dignified performance, not rising above the
by
Balfour . Gardiner's delightful
Dawson-Scott; Mr. Sampson, by Charles mediocre, and seldom sinking below it.
Shepherd Fennel' Dance, which
Lee, 6d. net each.
Dent Ellis (Dorothy May Brodrick), THE LIGHT-
heard more than once during the Prome- We should like to direct a large circle of BEARERS : A MISSIONARY PAGEANT, 6d.
nade Concert season last year. Later in the harassed entertainment-mongers to these
net.
Ely, Tyndall
evening his part-song "The Stage Coach,' carpet plays.
carpet plays. 'Mr. Sampson' is a little A dull and apostrophic masque, composed
novelty, proved attractive. Two Psalms gem, treating the relationship of two middle- of allegorical and historical figures, and not
for chorus and baritone solo (Mr. Ernest aged women and their next-door neighbour containing even the semblance of poetic
Groom) by Grieg, from Op. 74, were not well with that humour which is akin to pathos. merit.
placed, coming after the two works just • Phoca,' with its echo of the Forsaken
mentioned.
The first, My Jesus sets me Merman, is a crystallized idyll
, but the vintras (Louis), L'OR ET LES Roses, tragédie.
free,' is interesting; the second is of simple author's touch is a trifle heavy for the gos-
Paris, Publications Encyclopédiques
hymn-tune pattern. Some old English samer opportunities of the playlet.
This tragedy, dealing with mediæval
madrigals were admirably rendered by the
Naples, is in the true Romantic manner. We
Oriana Madrigal Society, under the able Creighton (Charles), M. D. , AN ALLEGORY OF
had imagined that the age which greeted
direction of Mr. Charles Kennedy Scott.
OTHELLO, 3/6 A. L. Humphreys such productions was long past. Mar-
The author in his Introduction suggests shalled in aid are all the traditional acces-
A letter of Mendelssohn's, recently adver-ample reasons for not suspecting allegory in sories-gloomy, vaulted apartments, secret
tised for sale by J. A. Stargardt of Berlin, “a great design firmly grasped and naturally stairs, rapiers in profusion, and grinding of
recalls an early attempt to get him to unfolded ” likeOthello' 'He then suggests bolts in iron doors. The author's smooth
write an opera.
The Chappell firm com- plenty of objections to the parallel he puts
missioned J. R. Planché, who wrote the forward between Bunyan and Shakespeare: emotion with alarming facility, but leaves
verse runs through the whole gamut of
Oberon’ book for Weber, to prepare one In respect of moral purpose, of course, the us unconvinced and uninspired.
for Mendelssohn. The composer was informed parallel fails ; for the dramatist could hardly
of this, and in replying from Leipsic on Feb. be said to inculcate a moral if he declined to
ruary 12th, 1838, stated that a “good, truly tell what the moral was. ” It is an odd and
poetical libretto had long been his desire. infructuous sort of allegory, the full expla-
Play-Making : a Manual of Craftsmanship.
This is the very letter (written in English) nation of which has escaped the close scrutiny By William Archer. (Chapman & Hall. ).
which has been advertised for sale. After of the wits of three hundred years and more,
To the minds of some lovers of art there is
a long correspondence between Planché and, when we discover the quality of Shake-
a curious fascination in the study of art's
and the composer, Planché agreed to adopt speare's hints, we can only conclude that it processes. For them enjoyment, and even
all Mendelssohn's suggestions, and the manu-
script was sent in 1839 a second time to stand the weakest allegorist in print.
has been our good fortune to misunder. beauty, are enhanced by comprehension of
the technical skill with which beauty has
Leipsic. No letter or message respecting it
Shakespeare was, indeed, an extraordinary been presented, and into their recollected
was ever received from Mendelssohn, and
It appears that he meant King pleasure in a beautiful thing consideration
the manuscript was not returned.
Lear' to be a complete allegory of the
of its how and why enters largely. Any
In the long notice of Mendelssohn in Reformation in England.
“Othello is a
reader of this pattern will find congenial
Grove’s ‘Dictionary' there is no mention of religious allegory, too. The Turks in the pasturage in Mr. Archer's book; and if
this, not even in the new edition, revised first act are the Nonconforming clergy, mark it, their critical perceptions would
theatregoers at large would but read and
by, F. G. Edwards, an authority on Men in the reign of Elizabeth. Brabantio is
delssohn. Another proof of its being little Archbishop Whitgift. The feint on Rhodes become so much sharpened as to render
known is afforded by a notice of some is an abortive attack on doctrines (roads, or
impossible the performance of some plays
Mendelssohn
Concerts in The Athenæum of well-trodden highways of thought), Cyprus, happily,
from the ordinary writer of hand-
pretty well received. Differing,
December 9th, 1871. Speaking of the fasti-
diousness which prevented Mendelssohn monies. Iago represents Bacon as the books, Mr. Archer does not frame a system
from writing an opera, the writer remarks that anonymous pamphletoer whose attack of rules, but rather (if the medical term
"' dissects ont ” prin-
he could have had the assistance of Scribe severely wounded Hooker in 1599. Hooker may be admitted)
or Planché the very men who had been in is Montano ; and Othello's story is that of ciples from actual plays, showing in how
negotiation with Mendelssohn. In last the Lollards, his marriage to Desdemona many ways these principles may be fulfilled,
Saturday's Notes and Queries, in the article meaning his acceptance of the traditional and, incidentally, what excellent reasons
· Charles Dickens,' Mr. John Collins Francis sacrament of the Altar in England. When
often underlie our unreasoned dissatisfaction
refers to Chorley, who, after his retirement Brabantio called his daughter a
with certain passages of various plays.
from the staff of The Athenæum in 1868, still (I. iii. 195), he was thinking of Bishop, Jewel; of specific cases, the book is full is sound and
The criticism of which, in the examination
wrote for it occasionally. Chorley was an
intimate friend of Mendelssohn's, and must, taught him to put on other children are the penetrating throughout, but it is, perhaps,
when last acts come under consideration
one would think, have heard of one or both Anglican Articles of Religion. Doubtless,
series of correspondence. The notice was by when Cordelia called her sisters“ jewels,"
that its breadth of view is most marked.
Gruneisen, but no reply came from Chorley. Shakespeare was thinking of two bishops,
For example :
The latter died soon afterwards, February or the one was of sufficient importance to be “I suggest, then, that the modern tendency to
16th, 1872, but was apparently in good duplicated.
take lightly Aristotle's demand that the drama
health until the day before his death.
Those who like this sort of reasoning will should have a beginning, a middle, and an end'
arises from the nature of things, and implies,
find it carried out here in detail, with refer-
not necessarily, nor even probably, a decline in
ences to Warburton and other critics. We craftsmanship, but a new intimacy of relation to
Concert, 3. 80, Royal Albert Hall.
can only say that, if Shakespeare found life, and a new sincerity of artistic conscience.
Sunday league Concert, 7, Queen's Hall.
the game a congenial pastime, we do not. I suggest that the weak last act,' of which critics
and
so often complain, is a natural development from
We are content with 'King Lear
which authors ought not on occasion to shrink,
• Othello' as they stand_to the uninitiate and of which critics ought on occasion to recognize
Strolling Players' Orchestral Society, 8. 39, Queen's Hall. eye, and we can offer Dr. Creighton no the necessity. To elevate it into a system is
Madame Leschetizky's Pianoforte Recital, 3, Bechstein Hall.
Amy Francis and Nancy Hancock's Mâtinée, 3, Steinway
encouragement to publish the several dis- absurd. There is certainly no more reason for
Frederick Lamond's Beethoven Recital, 3, Bechstein Hall guises in five or six other plays. We do not deliberately, avoiding an emphatic ending than
for mechanically forcing one. But authors and
Madame Sperann Calo's Vocal Recital, 8. 15, Bechstein Hall.
Donald F. Tovey's Chamber Concert. 8. 30. Æolian Hall.
propose to alter our whole conception of
critics alike should learn to distinguish the themes
Shakespeare on such evidence. It is evidence which do, from the themes which do not, call for
Thomas Perceval Fielden's Pianoforte Recital, 3. 15, Æolian
at best of no importance, for he who speaks a definite, trenchant solution, and should handle
Loon Rain'. Vocal Recital, 8. 15, Bechstein Hall.
of the all-sufficing beauty of the poetry theni, and judge them, in accordance with their
inherent quality. ”
Joan Manda and Frederick Lamond's klecital, 3, Bechstein
in its plain meaning appears to us to con.
demn some of the poorest
“ likelihoods of Mr. Archer's style of writing is weighty,
Germaine Schnitzer's Pianoforte Recital, 3. 15, Steinway Hall.
modern seeming" that have been added to but somewhat heavy. It does not suggest
Shakespeare.
Dettmar Dressel's Violin Recital, 3. 30, Dechstein Ball.
natural fuency with the pen.
man.
now
* jewel
PERFORMANCES NEXT WEEK.
Sun.
Mon. -8AT, Royal Opera, Covent Garden.
Mon. -Sat. London Opera House, Kingsway.
Mox. Doris Woodall's Lieder Recital, 8, Bochstein Hall,
Tors Kathro Bentineke's
Vocal Recital, 3 30, Beohstein Hall.
Clay Thomas's Vocal Recital, 8, Æolian Hall.
WED.
Hall.
THURS. Twelve o'clock Chamber Concert, Rolian Hall.
Joneph Klosky's Violin Recital, 3, Bechstein Hall.
וופון1
Aall.
Royal Amateur Orchestral Society, 8. 30, Queen's Hall,
PRI.
Hall.
Bar.
Queen's Hal Orchestra, 3, Queen's Hall.
Alexander Raxb's Pianoforte Recital, 3. Folian Hall.
## p. 448 (#340) ############################################
448
No. 4408, APRIL 20, 1912
THE ATHENÆ UM
no less than his wife, has given himseli JAMES CLARKE & CO.
In , ,
Dramatic Gossip.
another matrimonial partner, and has only
come home to make the acquaintance of his
A SELECTION OF NEW BOOKS.
We continue to follow the ramifications daughter—a crushed little girl whom he
of the Censor's ban with breathless interest. saves from a marriage of convenience, and FIGHTERS AND MARTYRS FOR
We observed his crusade against Puritan helps to the man of her heart. Barbara's THE FREEDOM OF FAITH.
ism; we beheld his ægis uplifted to protect love-affairs can have but one ending, when
By LUKE 8. WALMSLEY. 512 pp. Large
the display of irresponsible and inconse- once her father appears, and it is the
crown 8vo, cloth boards, gilt top, 88. Bd.
quential immorality; and now we see him ludicrous predicament of the victims of
net.
withholding from the public gaze a play bigamy which is the centre of interest.
The book has a frontispiece in colours and
which, if it carry a didactic motive with it, In his second act Mr. Brighouse concentrates
16 illustrations on art paper of Wyolif, Savonarola,
is a vindication of the cardinal doctrines on these with the happiest results, thanks to Luther, Tindale, Knox, Henry Barrowe, the
of Christianity. We think, indeed, that Mr. the clever acting
of Mr. Dennis Eadie, Miss Pilgrim Fathers, 'Cromwell, Milton, George Fox,
Zangwill does injustice to the “ Next Helen Haye, and Mr. Hubert Harben. Bunyan, Watts, Wesley, William Carey, John
Religion. ” As a constructive faith, it is His first act, besides being tame and con- Williams, and Livingstone ; each having a long
given no substance, and its equipment in ventional, gives away his plot, while the chapter in the book.
“The author has carried out his task with much
the shape of a temple, a ritual, an organ and third is mere uproarious farce, and really
success, and the book may be commended as in
choristers in the last act does not impress unnecessary.
us with the originality of its pioneers. "The
every way acourate and satisfying to the imagina.
MESSRS. W. HEFFER & Sons of Cam. tion. ”-Bookman.
Next Religion is inferior in technique, bridge will shortly publish, an edition of
grasp of reality, and massiveness of con. Shakespeare's Twelfth Night' which has CHARLES DARWIN AND OTHER
ception to 'The War God,' powerful as it is. been specially arranged and adapted for ENGLISH THINKERS: With. Reference
It alternates between the subtle dialectics performance at the Cambridge Theatre on
to their Religious and Ethical Value.
of destructive criticism and volcanic action April 30th and May 1st by the Cambridge
By 8. PARKES CADMAN, D. D. Large
in such a way as to obfuscate a central Repertory Company. The edition has been
crown 8vo, cloth boards, gilt top, 58. net.
impression. It is too long, lingers where it prepared by Mr. Orlando Barnett and Mr. ЕUCKEN AND BERGSON. Their
should be quickened up, and is inclined to A. F. M. Greig.
be unwieldy. Moreover, the credulity of
Significance for Christian Thought.
the religion-maker in the third act, his
'DENYS OF AUXERRE' is the title of a new By E. HERMANN. Crown 8vo, cloth boards,
29. Bd. net.
surrender to the arts of commercial exploita poetical drama in five acts by James Barton,
tion and garish publicity, leave us rudely which will shortly be published by Messrs. " A study marked by ability. ”— Timos.
disillusioned as to the strength of his per Christopher. Its theme is the story-traced
THE IMPERISHABLE WORD.
sonality and the impenetrability of his by Pater from the stained glass of Auxerre
gospel. He is vulgarized, and our respect
Cathedral-of a pagan revival in the Middle By W. CHARTER PIGGOTT. Crown 8vo,
for him wanes.
The creation of the wife is Ages.
cloth boards, 28. od. net.
more vital characterization. She is handled PLAYGOERS who go to the Globe Theatre the average man, who will find in his clear and
“Mr. Piggott writes on subjects of interest to
with poignancy, insight, and rare sympathy. to hear lilting music, and to see pretty careful expositions much that will at once stimu. .
The force of the play lies really in the dia. dresses and scenery vivified by attractive late and comfort. ”-Dundee Advertiser.
logue of the first two acts—always trenchant, principals and chorus, will probably, come
ironic, masterful, and at times broadening away well content with "The Pink Lady, PROBLEMS AND PERPLEXITIES
into lofty and full-mouthed harmonies.
which was produced on the 11th inst. It is By W. E. ORCHARD, D.
