Laparra's
Pianoforte
and Violin Recital, 3.
Athenaeum - London - 1912a
He was born in Paris during
artists' capacity for drawing on a large scale; lovely examples of his work. There are the Revolution, died in Berlin in 1872, and
while in that under the motto of “O Tem- sixteen to be seen now in Brussels, including lived for many years in England, where
pora, O Mores ” (37), which alone has faced in
from the Fitzhenry and Doistau he exhibited largely at the Academy. There
its inception the rather formidable neighbour. Collections, which were shown at the Exhi- is something very animated and vivacious
hood of the surrounding setting of red brick,
we find the circular fillings at the bottom of
bition to which I have just referred.
in his work. Take, for example, the portraits
of Madame Vestris (1057), from the Doistau
the design, though pretty enough in them. A contemporary of the foregoing, who Collection, and Miss Morris, of the King's
selves, quite out of key with the general worked with Isabey in the studio of David, Theatre (1065). Rochard's colour is rich,
colour-scheme.
is Jean Guérin. This artist is well known and, if the term may be allowed, luscious.
There is some promise al:o in the clear by his striking portrait of Général Kléber His portraits seem a mixture of the styles of
colour fo the two small sketches of “Homo in the Louvre. He excelled in painting Sir William Ross and Isabey. By the way,
Homini Lupus ” (72) for Messrs Crosse & men; his portraits of women are more rare,
he was a pupil of the latter. He could do
Blackwell's factory'; in the detail of No. 93 for and fetch high prices. There are a number solid work when he liked, witness the copy
the same competition, which makes a much of the latter to be seen in this Exhibition, of the Rembrandt in the Royal Collection,
better
design than does the drawing of the including Madame Recamier(786), again Buckingham Palace (302).
ensemble; and the sketches for the Village from the Doistau Collection. Guérin began
Hall at Shrivenham, No. 81 (“Oranges and by painting Marie Antoinette, and lived
The mention of Isabey brings us to one of
Lemons ").
to exhibit in the Salon as late as 1827. the most extraordinary men in the whole
He too, as I
In the Sutton Valence School Competition Examples of his work are in the Wallace range of miniature painters.
Nos. 85 and 159 are fairly good, but recent Collection.
have said, was a Lorrainer, and had the
examples of the handling of historical sub-
good fortune to attract the notice of Marie
There are several interesting works by Antoinette, Queen of France, when he was
jects for decorative purposes have been so Vestier, who was father-in-law to Dumont, only 20.
bad that to impose them seems to be to including some theatrical portraits ; but
court disaster. It is satisfactory to see
He began in the very humblest way,
the greatest miniature painter of this period
evidence of the existence of a “buon fresco
remains
and, like many other artists, struggled
be mentioned, viz. , Pierre
class, urgently needed in London to give a Adolphe Hall, the portrait of whose daughter termed "le portraitiste indispensable des
sound technical basis to these experiments. is here (810, belonging to M. Wildenstein),
Gouvernements. ' He was in truth “le
besides two or three women's portraits be-
At the gallery of Messrs. Goupil in Bed- longing to Baron Oppenheim of Cologne. Allies, Louis XVIII. and Charles X. More-
peintre attitré ” of Napoleon I. and the
ford Street the X Club of Painters show, This artist, who was a Swede, died of apo-
like the exhibitors at Crosby, Hall, anony: plexy on his way to Liége, whither he fled to
over, he lived to see Napoleon III. on the
mously. It would have an admirable effect escape the Revolution. He is credited with courtier and successful portrait painter so
throne of France. To have been a favourite
on art criticism if the example were widely having painted over 2,000 miniatures. There long was a unique experience which
Isabey
followed. The exhibits suffer, as a rule, are several examples of his extraordinary turned to good account. He
from a certain paintiness, the colour fall-
was an
ing between two stools, and being neither not equal in quality to those in the Paris extraordinarily prolific artist, and painted
naturalistically nor decoratively just. In Eighteenth-Century Art Exhibition, where every notability of this time. The
Wallace
slight sketches, however, two or three of
some fifty were shown.
the members show some feeling for colour :
sesses at least a dozen portraits of Napo-
X 10, for example, in The Louvre (1), and
A contemporary not much known in this leon I. , to say nothing of other members
X 23 in The Bathing Cave (9). John Street country, I think, though delightful examples of the Buonaparte family. He is the
(33), by X 16, is a well-characterized portrait of his work are in the Wallace Collection, is largest contributor here, being represented
Mansion, by whom a couple of portraits by thirty works, including many celebrities.
Mr. S. J. Peploe's drawings at the Stafford will be found—941, 942.
Two miniatures by this artist (624A) are
Gallery are of excessive slightness, Nos. 18 In the group of distinguished eighteenth- full of interest, as they both were painted
and 57 having, however, some charm ; century French miniature painters stands during the “Hundred Days. That of
while at the Baillie Gallery Mr. Robert Louis Lié Périn. He had lessons from Louis XVIIJ. was begun soon after Napoleon
Gregory shows one firmly painted landscape Sicardi, and painted miniatures for a liveli- was sent to Elba. On the Emperor's return,
imaginatively conceived, "The Lake, Even- hood at a nominal price. The Fitzhenry he at once sent. for Isabey, who straightway
ing (11), and a number of good colour-studies Collection includes one of ‘Le Chancelier commenced a portrait of him, but the over-
for stage scenery.
Maupéou' (1012), which is here shown. throw of the Empire after Waterloo led to
to
## p. 662 (#500) ############################################
662
No. 4415, JUNE 8, 1912
THE ATHENÆUM
the abandonment of the second picture and Füger, the Austrian painter, whose work
the completion of the first. They are both enjoys, and deservedly so, a great reputa-
Fine Art Gossip.
of them beautifully finished work, and tion in Vienna, where he was a Director of
belong to the Musée Ducal de Carls- the Académie des Beaux-Arts at the end of
THE NATIONAL GALLERY OF SCOTLAND,
ruhe.
the eighteenth century, is represented by which has been enlarged and rearranged,
Taking the miniatures shown in the eight or nine portraits (761-8).
was reopened by the Secretary for Scotland
Foreign Section chronologically, it is inter- Another artist of European celebrity who building on the Mound
on Monday. Formerly only half of the
was available ;
esting to find an example by an artist whose is not generally reckoned as a miniature
work is extremely rare in this country, but painter, so far as I am aware, is Goya. His and drawings of the foreign and British
now the whole area is occupied by prints
three portraits and two 'Études (774–7) schools, and paintings of the British, Italian,
in the early history of miniature painting will be examined with interest. They are
French, Dutch, and Flemish schools. A
in England, viz. , Lavinia Teerlinck. This lent by the Marquis de Casa-Torres, and
new feature is the black-and-white section.
lady was attached to the Court of Mary come from Madrid,
Tudor, and there are notes of payments
We have to announce the death of the
made to her by that Queen. She was the by Peter Fendi. This artist must be reckoned 20th ult. , aged 68. The most prominent of
Unexpected beauty is revealed in works
Danish sculptor Louis Hasselriis on the
daughter of the well-known miniature a Viennese, as he was born in Vienna in 1796,
painter Simon Teerlinck of Bruges. There
and died there in 1842. He lived also in his works was the Heine statue ordered
is a portrait said to be LadyHunston-by Venice. There is something suggestive of by the late Empress of Austria for her villa
her here (1132), lent by the Rijks Museum
at Amsterdam.
Kate Greenaway in his works shown here, at Corfu, and now in Hamburg.
Moroover, the Foreign although, of course, he was dead long before M. PAUL FOUCART, the veteran Acade-
Section is exceptionally rich in the work of her reputation was made. They have the mician, has returned to the study of the
the Olivers, by reason of the important con-
naiveté and sweetness of childhood to an Mysteries of Eleusis, a fresh memoir on
tribution by the Queen of Holland of some
half-dozen of their best works, including, one
astonishing degree. When one thinks of which, prepared with the collaboration of
the hideous costume of the Early Victorian his son M. George Foucart, Professor at
of the Duke of Buckingham by Peter Oliver, period, to which these works belong, it the University of Marseilles, he has just
after the artist's father (1002), and another adds to the wonder that such a charming read before the Académie des Inscrip-
piece, by Isaac Oliver, also assigned to effect could be obtained. They are water tions. He thinks that in the yearly cele-
Buckingham, dated 1614; but, as this
colour drawings rather than miniatures in bration of these Mysteries the drama
miniature (996) bears on its face the age of the ordinary sense, but are full of deli. representing the Rape of Persephone, her
the original, viz. , 30, and as George Villiers
was not born till 1592, it is quite clear it
cacy and refinement. Two examples, repre- return to earth, and the marriage of Zeus
senting
cannot be Buckingham, nor, indeed, could Figure of the Madonna," leave us cold, but not as a spectacle, but as a liturgical act
Repose and Prayer before the and Demeter, was played by the priests,
I discover a likeness to the “ favourite ”; the colouring of the other three, representing having for its object the assurance by magical
but it is a beautifully finished miniature, children at breakfast, reading, and at play(? ), means of good harvests and other benefits
and is deservedly given a place of honour.
is fresh, tender, and dainty. All are dated to the State. This he declares to have been
The interesting group of three (993), 1840, and belong to the Princess Arnulf of copied from the similar scenes represented,
belonging to the Baroness G. de Rothschild, Bavaria.
according to Herodotus, at different festivals
modestly termed Portrait d'Homme, de
Femme, et d'Enfant, I have already dealt Corinthum," and perhaps not all my readers
“Non cuivis homini contingit adire in Egypt which had the same intention, but
were not mysteries in the ordinary sense of
with in my notes on the English Section.
may find time to go to Brussels, but I the word, requiring a special initiation on
Another great name, one of the greatest
can safely promise those who do so that the part of the worshippers. In this view
in the history of the art, Petitot, must not they wil not be disappointed with the M. George Foucart, whose competence in
be forgotten, but the works shown do International Exhibition of Miniatures in Egyptological matters is well known, sup-
not compare favourably with the numerous the Avenue des Beaux-Arts.
ports him.
specimens of his wonderful skill which may
In conclusion, I venture to make a few THE learned Dominican Father Scheil has
be seen in the Jones Collection at the Vic remarks germane, as I think, to the subject just discovered, or rediscovered, the clay
toria and Albert Museum. Of the half- of these notes.
tablet containing the plan and description
dozen portraits here, that of Turenne
(on a snuff-box, 1023, belonging to Prince Brussels is undoubtedly a huge success.
(1) L'Exposition de la Miniature at
of the famous temple of Esagila at Babylon,
seen for a short time, but not copied, by the
de Lichtenstein) is, perhaps, the finest.
One of the most versatile and delightful mitted to be one of its most attractive Babylonia. It turns out to be a copy made
(2) The English Section therein is ad. late George Smith during his last visit to
artists of the eighteenth century, Jean features.
by the scribe Ea Belshunu at Erech, in the
Fragonard, is represented here by half
eighty-third year of the Seleucid Era (or
dozen examples.
(3) The works there shown are but a mere
He is not usually fraction of similar treasures available in
229 B. C. ), from anoth tablet found at
reckoned
miniature painter, but
his facility was such that he could paint in
Borsippa. It contains the measurements of
this country.
(4) With the exception of a small number, the number, names, and orientation of the
the courts and the sanctuary of the temple,
any manner, as specimens of his work here
abundantly prove.
Most of them are mostly from the Duke of Buccleuch’s Collec different doors and chapels, and also of six
marked by that broad, free handling tion, shown at the R. A. Old Masters 1879,
which corresponds to the examples to be seen
out of the seven stories or stages of the
no public exhibition of portrait miniatures famous ziggurat or step-pyramid celebrated
in the Wallace and Ashmolean Collections.
has been held in London since 1865. (the by Herodotus and Strabo. The description
They differ toto coelo from the portrait Burlington Club Exhibition of 1889 being a
of the sixth story is missing, as noted by
of the actor Préville (758), painted on a private show).
snuff-box belonging to M. Flameng. The
(5) The time seems ripe for a British municated by Father Scheil to the Académie
George Smith, which proves the tablet com-
likeness of this favourite actor is most Exhibition to be held in London in the near
des Inscriptions to be the same
as that
minutely and carefully finished, and is of future, say, in the summer of 1913.
formerly seen by our countryman.
a very different character from the rest of (6) To such an Exhibition, held under
Fragonard's work in miniature.
proper auspices, and with due precautions
MR. STEPHEN LANGDON, Reader in Assy-
A group of artists other than the for safety, contributions may confidently be riology at Oxford, has found among the
tablets from Nippur studied by him at the
French School may here be noticed, viz. , expected from owners who have been un-
Füger, Goya, Fendi, and Quaglia, a quartet
of willing to send their valuable collections Imperial Ottoman Museum at Constantinople
abroad.
a tablet containing a whole section of the
painters who show, it must be owned, very
different powers and styles of work.
(7) Besides the pleasure such an Exhibi- Code of Hammurabi, which purports to
Ferdinand
have been revised and transcribed by
tion would afford to the public, it should
Quaglia, the Italian artist,
the scribe Bel-ibni in the reign of Ham-
painted many portraits of the Empress (8) Raise the standard of miniature murabi's son and successor, Samsu - iluna.
Joséphine. There is in this Exhibition one painting, in this country; and last, but not He gathers from this that the Code shortly
of her (1041, belonging to M. E. Stern). His least, might
after its enactment was often copied, and
work may be seen in the Wallace Collection (9) Pave the way for the formation of a the examples sent to many places in the
in the shape of another portrait of the National Collection of Miniatures, to the empire, in order that no Babylonian should
Impératrice, painted long before great enjoyment and profit of succeeding be able to plead ignorance of the law.
Waterloo.
generations.
J, J. FOSTER, AFTER an interval of sixty-three years
A woman's portrait here, from the Doistau
the Cambrian Archäological Association
Collection, is dated 1826. But Quaglia is
will this year hold its Annual Meeting at
generally supposed to have died a year
before
Cardiff, the week selected being that of
that,
July 22nd to 27th.
a
as
a
1
-
## p. 663 (#501) ############################################
No. 4415, JUNE 8, 1912
THE ATHENÆUM
663
London Trio, 3 30, Æolian Hall
Elena Gerhardt's Recital, 8. 15, Queen's Hall.
Frederick Morley's Pianoforte Recital, 8. 15, Bechstein Hall.
Charles Anthony's Pianoforte Recital, 8. 30, Æolian Hall.
WED.
Alex under Raab's Pianoforte Recital, 3, Queen's fall.
Olenine d'Alheim's Vocal Recital, 3. 15, Bechstein Hall.
Steinway Hall.
Marion Dykes &picer's Vocal Recital, 3. 16, Æolian Hall.
Bronislaw Huberman's Violin Recital, 8. 15, Queen's Hall.
Eva Liesmann's Vocul Recital, 8. 15, Bechstein Hall.
Miss D'Almayne's Vocal Recital, 9. 30, Æolian Hall.
THURS. Paul Kochanski's Orchestral Concert, 3, Queen's Hall.
Wladimir Cernikoff s Pianoforte Recital, 3. 15, Æolian Hall.
Mario Lorenzi's Harp Recital, 3. 15, Broadwood's.
Robert Lortut's Pianoforte Recital, 3. 15. Bechstein Hall.
South Hampstead Orchestral Concert, 8. 15, Queen's Hall.
Bechstein Hall.
FRI. Tina Lerner's Pianoforte Recital, 3. 15, Polian Hall.
Nordica's Orchestral Concert, 3. 15, Queen's Hall.
Maggie Teyte's Vocal Recital. 3. 15, Bechstein Hall.
Frederick Stock and Victor Watson's Recital, 8. 15, Steinway
Hall.
ווווווווון
11111
Hall.
Rodolfa Lhombino and Heinrich Fiedler's Recital, 8. 30,
Bechstein Hall.
Clark Butt and Kenderley Rumford's Concert, 3, Royal
Albert Hall.
Mengelberg-Schelling Concert, 3, Queen's Hall.
Leila Doubleday and Arthur Alexander's Recital, 3. 15,
Eolian Ball
Il 11
Fanny Davies and Pablo Casals's Concert, 8. 15, Æolian Hall.
this opera is remarkable, for though it is
TUES. Paulo Gruppe's 'Cello Recital, 3. 15, Bechstein Hall.
ably written, the style of the music differs
MUSIC
from that in vogue at the present day.
SIGNOR BUSONI gave an orchestral concert R. and E.
Laparra's Pianoforte and Violin Recital, 3. 15,
at Queen's Hall on Wednesday evening,
WOLF-FERRARI'S ‘I GIOJELLI DELLA The first part of the programme included
MADONNA. '
Beethoven's ' Emperor Concerto and Liszt's
‘Dies Iræ' Paraphrase, the accompani.
WOLF-FERRARI was born at Venice in
ments to which were played by the Queen's
1876, and his first two operas were produced
Helen Sealy's Evening Concert, 8. 15, Æolian Hall,
Hall Orchestra under Sir Henry Wood's
in that city. Afterwards he went to Munich direction, The second part of the pro-
Mary, Jocelyn and Frank Gleeson's Vocal Recital, 8. 30.
and studied with Rheinberger. There he gramme included Mozart's Overture to
produced ‘Die neugierigen Frauen. ' His
Die Entführung aus dem Serail,' to which
latest opera, 'I Giojelli della Madonna,' pro- Signor Busoni has added a short and
duced last year in America, was given at effective coda, as in Mozart's score it leads
Gervase Elwes and Campbell McInnes's Recital, 8. 30, Æolian
Covent Garden on Thursday in last week without break into the opening scene. The
for the first time.
pianist's 'Berceuse Élégiaque for orchestra Sat.
Wolf-Ferrari is only thirty-six years old.
proved somewhat artificial in its harmonies,
It is, therefore, not surprising to find his
yet the coda was impressive. Last in the
music showing the influence of Wagner,
his
programme came Turandot' Suite.
Jane Gair's Vocal Recital, 8, Bechstein Hall.
especially in the dramatic scene between
Its earlier numbers are very characteristic,
Gennaro and Maliella in the second act.
but, like most incidental music-it was
In the first act, with its laughing, bustling originally written to Gozzi's comedy
crowd, and the solemn procession and singing Turandot'-it is not heard to best advan.
of the chorus, the composer shows that his tage in the concert-room. These works were
DRAMA
studies with Rheinberger enabled him to ably conducted by the composer.
present striking contrasts with considerable
effect; for the chanting of the choir in LAST SATURDAY AFTERNOON Sir Henry J.
Gregorian melodies accentuated the contrast Wood gave a Hamlet concert in the
THE IRISH PLAYERS.
between the sacred and the secular music. Empress Hall, at the Earl's Court Exhibition. The presence of a massed and enthusiastic
This first act achieved a legitimate success.
In the second act, to which reference has Symphonic Poem 'Hamlet,' but Ramann, his audience at the Court Theatre on Monday
been made, the music was appropriate, biographer, concluded, from a note on the night, at the opening of the season of the
yet, owing to the Wagnerian influence, it manuscript score, that it was intended as a Abbey Theatre Company, was ample
did not create strong interest. Nor was it Prelude for a performance at Weimar of testimony that these original players
worked up, as in the first act, to an impres- Shakespeare's play. The music is interest- have at length reached the inner citadel
sive climax.
ing, though naturally sombre, with the of favour in London drama. For that
In the third act there was clever music,
exception of a short section intended, no
but here again the close was unsatisfactory. doubt, for Ophelia. As Prelude to the play for nothing can
be more damaging to their
reason it behoves them to be circumspect,
The music was not powerful enough to it would create the right atmosphere, but
counteract the realism of Gennaro's death.
as a concert piece it is not effective. Another exquisite art than the popularity of
Throughout the opera Neapolitan folk: number in the programme was ' L'Enterre- London playgoers-somewhat clamorous,
melodies were introduced for the purpose of ment d'Ophélie, by Bourgault Ducoudray, aggressive, and too eagerly responsive
local colour; but only in a few instances an emotional and delicately scored piece, to note the finer shades of dramatic repre-
did they prove characteristic. The aim of given for the first time in England.
the librettists, C. Zangerini and E. Golisciani,
sentation. Appropriately enough, they
so it seems to us, was to arrange a series of The sudden death is announced in his inaugurated their programme with Mr.
sensational tableaux rather than to present 61st year of Jan Blockx, a Flemish composer W. B. Yeats’s ‘Kathleen Ni Houlihan'
a story of strong and developing human whose works were successful not only in his and Synge's 'The Playboy of the Western
interest. Maliella, a kind of Carmen, is the native city Antwerp, but also in Belgium and World,' which threw certain ferocious
most striking character.
in France. His Herbergprinses,' produced Philistines of America into an anguish
The impersonation of Maliella by Madame in 1896, was his first work for the stage, of deprecation and gave the play itself
Edvina was excellent, though her voice is though previously he had written many the subtlest form
of
advertisement.
not quite suited to the part. Signor Marti- vocal and instrumental works. Another
nelli as Gennaro sang well
, but his rôle did successful opera of his was . La Fiancée de la It is because the present critic has seen
not enable him fully to display either his Mer,' produced two years later.
and delighted in The Playboy' many
histrionic or his vocal powers. The per-
times that it is incumbent upon him to
formance, under the direction of Signor
ACCORDING to Le Ménestrel, a complete warn its interpreters against accepting
Campanini, was excellent, and the staging of libretto of “King Lear' in Verdi's hand-
the piece deserves all praise.
writing has been discovered among his any other standard of valuation than that
An English version of the libretto has papers. This confirms the report that he they themselves revealed when first it was
acted in London. "The Playboy
intended to write an opera on that subject.
been made by Mr. Claude Aveling.
' is
by no means the simple “comedy
HERR SIEGFRIED WAGNER, whose opera that the majority of London critics would
Banadietrich' has just been produced at have us believe. Its strands are woven
Musical Gossip.
Vienna, has stated that there will be no
of both comedy and tragedy, patterned
festival performances at Bayreuth in 1913. into an harmonious shapeliness upon a
MANY opera-goers regard Rossini's “Il BERTHOLD LITZMANN's biography of background of grim actuality, shot through
Barbiere ' merely as an amusing opera, and Madame Schumann has been translated at the same time, for all its sternness,
the Lesson scene with a prima donna from the fourth German edition by Miss with a radiant and transfiguring imagina-
of note as most enjoyable ; but there is Grace Hadow, and will. shortly be pub- tion. It is satire, poetry, realism, and high
genius in the bright, spontaneous music; lished by Messrs. Macmillan & Co. , with
moreover, the agreement between tone and an Introduction by Dr. W. H. Hadow. exuberant humour poured into and fused
word is complete. The performance last The book will be in two volumes, with in the alembic of art. Only so puissant
Saturday evening, at Covent Garden with portraits and other illustrations.
a dramatist as Synge could have sharpened
Madame Tetrazzini as the Rosina was
and finished such heterogeneity into
brilliant. Both Messrs. McCormack and
dramatic verisimilitude. For, however
Sammarco as the Count and Figaro sang
much the critics may differentiate between
well, though their acting was more or less
the transcendent prose - poetry of The
formal.
Playboy' and its dramatic machinery,
On the following Monday 'Samson et
Dalila' was given, the two chief rôles
the two are inseparable.
being taken by M. Paul Franz and Madame
London Symphony Orchestra, 8. Queen's Hall.
Kirkby Lunn. The latter was at her
The Playboy of the Western World. By J, M. .
best.
Synge.
M. Franz, both in voice and appear.
Recital. 8. 15. Ateinway Hall.
ance, is an ideal Samson. The success of
Kathleen Ni Houlihan. By W. B. Yeats,
66
PERFORMANCES NEXT WEEK.
Sun. Special Concert, 3. 30, Royal Albert Hall.
National Sunday League Concert, 7, Queen's Hall.
Mox. -SAT. Kogal Opera, Covent Garden.
Mox. -SAT. London Opera House, Kingsway.
Mox. Nora and Frederica Conway's Recital, 3, Steinway Hall.
Joseph Malkin's 'Cello Rectal, 3, Bechstein Hall
Irene St. Clair's Song Recital, 3. 15, Æolian Hall.
Olenine d'Alhein's Vocal Recital, 8. 15, Bechstein Fall.
Christian Keny and Betty Goodden's Voorl and Planoforte
Apna Hoeckner's Evening Concert, 8 15. Empress Rooms.
Lierbammer's Vocal Recital, 8. 45, Æolian Hall.
IIIIIII
## p. 664 (#502) ############################################
664
No. 4415, JUNE 8, 1912
THE ATHENÆUM
BELL'S
BOOKS.
Lady Gregory, Mr. W. B. Yeats, and
MESSRS.
Mr. W. G. Fay have superintended the Dramatic Gossip.
training of the Abbey players with rare
zeal and devotedness. They responded ‘LE MAITRE DE FORGES,' which has been
in a composite body so freshly and with presented at the Little Theatre, was a piece
such discrimination that they flashed like highly successful in its own generation, and
remains probably M. Georges Ohnet's best
NOW READY. Post 8vo, 78. Bd. net.
and drab
mediocrity of acting. It will achievement. To-day modern audiences, A CHRONICLE OF THE POPES.
therefore be perilous in the extreme for in the prodigality of dramatic scenes which
From St. Peter to Pius X.
the future of acting should they allow occur in the play. In spite of M. Ohnet's By A. E. McKILLIAM, M. A.
themselves to be seduced from the track hatred of the commonplace, it is difficult “The short biographies of the different Popes have been
prepared with evident care, and to students of history this
of their early and perfect renderings. to suppress the criticism that, after all,
handbook should be of much service. A well-compiled
There were ominous manifestations on
'Le Maître de Forges' is conventional and index enhances the value of the volume as a book of
reference. "-Scotsman.
Monday night of such a tendency. The insipid. As is invariably the case with the
absence of so vital a personality as
French players, the acting reached a high NOW READY. Medium 850, 108. Od. Det.
level. Madame Émilie Lindey as Claire
Miss Maire O'Neill may have accounted de Beaulieu, although sincere, was a little
PITT AND NAPOLEON
for it in some measure ; for Miss Eithne lacking in restraint, and tended at times to
Magee as Pegeen Mike, markedly successful obtrude her personality. It is well worth
Essays and Letters.
as she was, lacked the passion, the insight, seeing the play to watch the acting of
By Dr. J. HOLLAND ROSE,
Reader in Modern History, University of Cambridge.
and the esoteric sense of poetry of her M. Bouzin.
“ This book in reality forms the third volume of Dr.
predecessor. One sought in
THE second week of the Irish Players' | light is thrown on many points which arise both in
Holland Rose's Life of Pitt. ' In it new and important
that smooth interaction of temperament season at the Court will be occupied by • William Pitt and National Revival' and William Pitt
between Pegeen and Christopher Mahon four plays-two by Lady Gregory : The and the Great War. ' Taken togetber these three volumes
may be regarded as the standard biography of the patriotic
which results in a kind of interchange of Jackdaw' during the first part of the week,
statesman whose untiring exertions brought about the
their two salient characteristics - her
and 'The Rising of the Moon' during the Union between England and Ireland. . . . One of the most
important historical works which has appeared since the
shrewish vitality tempered into softness, riage and Mr. Lennox Robinson’s ‘ Patriots'
last. Mr. St. John Ervine's Mixed Mar-
commencement of the present century. "-Outlook.
his shy naive timidity into a bold and will be the other two.
masterful “likeliness. " That was partly
BY THE SAME AUTHOR.
Mr. O'Donovan's fault. In a way that we
THE LIFE OF WILLIAM PITT.
TO CORRESPONDENTS. - A. H. F. - E. T. -C. K. 0. -
have never seen him do before, he slurred J. J. F. -Received.
J. H. A. -Not suitable for us.
Vol.
artists' capacity for drawing on a large scale; lovely examples of his work. There are the Revolution, died in Berlin in 1872, and
while in that under the motto of “O Tem- sixteen to be seen now in Brussels, including lived for many years in England, where
pora, O Mores ” (37), which alone has faced in
from the Fitzhenry and Doistau he exhibited largely at the Academy. There
its inception the rather formidable neighbour. Collections, which were shown at the Exhi- is something very animated and vivacious
hood of the surrounding setting of red brick,
we find the circular fillings at the bottom of
bition to which I have just referred.
in his work. Take, for example, the portraits
of Madame Vestris (1057), from the Doistau
the design, though pretty enough in them. A contemporary of the foregoing, who Collection, and Miss Morris, of the King's
selves, quite out of key with the general worked with Isabey in the studio of David, Theatre (1065). Rochard's colour is rich,
colour-scheme.
is Jean Guérin. This artist is well known and, if the term may be allowed, luscious.
There is some promise al:o in the clear by his striking portrait of Général Kléber His portraits seem a mixture of the styles of
colour fo the two small sketches of “Homo in the Louvre. He excelled in painting Sir William Ross and Isabey. By the way,
Homini Lupus ” (72) for Messrs Crosse & men; his portraits of women are more rare,
he was a pupil of the latter. He could do
Blackwell's factory'; in the detail of No. 93 for and fetch high prices. There are a number solid work when he liked, witness the copy
the same competition, which makes a much of the latter to be seen in this Exhibition, of the Rembrandt in the Royal Collection,
better
design than does the drawing of the including Madame Recamier(786), again Buckingham Palace (302).
ensemble; and the sketches for the Village from the Doistau Collection. Guérin began
Hall at Shrivenham, No. 81 (“Oranges and by painting Marie Antoinette, and lived
The mention of Isabey brings us to one of
Lemons ").
to exhibit in the Salon as late as 1827. the most extraordinary men in the whole
He too, as I
In the Sutton Valence School Competition Examples of his work are in the Wallace range of miniature painters.
Nos. 85 and 159 are fairly good, but recent Collection.
have said, was a Lorrainer, and had the
examples of the handling of historical sub-
good fortune to attract the notice of Marie
There are several interesting works by Antoinette, Queen of France, when he was
jects for decorative purposes have been so Vestier, who was father-in-law to Dumont, only 20.
bad that to impose them seems to be to including some theatrical portraits ; but
court disaster. It is satisfactory to see
He began in the very humblest way,
the greatest miniature painter of this period
evidence of the existence of a “buon fresco
remains
and, like many other artists, struggled
be mentioned, viz. , Pierre
class, urgently needed in London to give a Adolphe Hall, the portrait of whose daughter termed "le portraitiste indispensable des
sound technical basis to these experiments. is here (810, belonging to M. Wildenstein),
Gouvernements. ' He was in truth “le
besides two or three women's portraits be-
At the gallery of Messrs. Goupil in Bed- longing to Baron Oppenheim of Cologne. Allies, Louis XVIII. and Charles X. More-
peintre attitré ” of Napoleon I. and the
ford Street the X Club of Painters show, This artist, who was a Swede, died of apo-
like the exhibitors at Crosby, Hall, anony: plexy on his way to Liége, whither he fled to
over, he lived to see Napoleon III. on the
mously. It would have an admirable effect escape the Revolution. He is credited with courtier and successful portrait painter so
throne of France. To have been a favourite
on art criticism if the example were widely having painted over 2,000 miniatures. There long was a unique experience which
Isabey
followed. The exhibits suffer, as a rule, are several examples of his extraordinary turned to good account. He
from a certain paintiness, the colour fall-
was an
ing between two stools, and being neither not equal in quality to those in the Paris extraordinarily prolific artist, and painted
naturalistically nor decoratively just. In Eighteenth-Century Art Exhibition, where every notability of this time. The
Wallace
slight sketches, however, two or three of
some fifty were shown.
the members show some feeling for colour :
sesses at least a dozen portraits of Napo-
X 10, for example, in The Louvre (1), and
A contemporary not much known in this leon I. , to say nothing of other members
X 23 in The Bathing Cave (9). John Street country, I think, though delightful examples of the Buonaparte family. He is the
(33), by X 16, is a well-characterized portrait of his work are in the Wallace Collection, is largest contributor here, being represented
Mansion, by whom a couple of portraits by thirty works, including many celebrities.
Mr. S. J. Peploe's drawings at the Stafford will be found—941, 942.
Two miniatures by this artist (624A) are
Gallery are of excessive slightness, Nos. 18 In the group of distinguished eighteenth- full of interest, as they both were painted
and 57 having, however, some charm ; century French miniature painters stands during the “Hundred Days. That of
while at the Baillie Gallery Mr. Robert Louis Lié Périn. He had lessons from Louis XVIIJ. was begun soon after Napoleon
Gregory shows one firmly painted landscape Sicardi, and painted miniatures for a liveli- was sent to Elba. On the Emperor's return,
imaginatively conceived, "The Lake, Even- hood at a nominal price. The Fitzhenry he at once sent. for Isabey, who straightway
ing (11), and a number of good colour-studies Collection includes one of ‘Le Chancelier commenced a portrait of him, but the over-
for stage scenery.
Maupéou' (1012), which is here shown. throw of the Empire after Waterloo led to
to
## p. 662 (#500) ############################################
662
No. 4415, JUNE 8, 1912
THE ATHENÆUM
the abandonment of the second picture and Füger, the Austrian painter, whose work
the completion of the first. They are both enjoys, and deservedly so, a great reputa-
Fine Art Gossip.
of them beautifully finished work, and tion in Vienna, where he was a Director of
belong to the Musée Ducal de Carls- the Académie des Beaux-Arts at the end of
THE NATIONAL GALLERY OF SCOTLAND,
ruhe.
the eighteenth century, is represented by which has been enlarged and rearranged,
Taking the miniatures shown in the eight or nine portraits (761-8).
was reopened by the Secretary for Scotland
Foreign Section chronologically, it is inter- Another artist of European celebrity who building on the Mound
on Monday. Formerly only half of the
was available ;
esting to find an example by an artist whose is not generally reckoned as a miniature
work is extremely rare in this country, but painter, so far as I am aware, is Goya. His and drawings of the foreign and British
now the whole area is occupied by prints
three portraits and two 'Études (774–7) schools, and paintings of the British, Italian,
in the early history of miniature painting will be examined with interest. They are
French, Dutch, and Flemish schools. A
in England, viz. , Lavinia Teerlinck. This lent by the Marquis de Casa-Torres, and
new feature is the black-and-white section.
lady was attached to the Court of Mary come from Madrid,
Tudor, and there are notes of payments
We have to announce the death of the
made to her by that Queen. She was the by Peter Fendi. This artist must be reckoned 20th ult. , aged 68. The most prominent of
Unexpected beauty is revealed in works
Danish sculptor Louis Hasselriis on the
daughter of the well-known miniature a Viennese, as he was born in Vienna in 1796,
painter Simon Teerlinck of Bruges. There
and died there in 1842. He lived also in his works was the Heine statue ordered
is a portrait said to be LadyHunston-by Venice. There is something suggestive of by the late Empress of Austria for her villa
her here (1132), lent by the Rijks Museum
at Amsterdam.
Kate Greenaway in his works shown here, at Corfu, and now in Hamburg.
Moroover, the Foreign although, of course, he was dead long before M. PAUL FOUCART, the veteran Acade-
Section is exceptionally rich in the work of her reputation was made. They have the mician, has returned to the study of the
the Olivers, by reason of the important con-
naiveté and sweetness of childhood to an Mysteries of Eleusis, a fresh memoir on
tribution by the Queen of Holland of some
half-dozen of their best works, including, one
astonishing degree. When one thinks of which, prepared with the collaboration of
the hideous costume of the Early Victorian his son M. George Foucart, Professor at
of the Duke of Buckingham by Peter Oliver, period, to which these works belong, it the University of Marseilles, he has just
after the artist's father (1002), and another adds to the wonder that such a charming read before the Académie des Inscrip-
piece, by Isaac Oliver, also assigned to effect could be obtained. They are water tions. He thinks that in the yearly cele-
Buckingham, dated 1614; but, as this
colour drawings rather than miniatures in bration of these Mysteries the drama
miniature (996) bears on its face the age of the ordinary sense, but are full of deli. representing the Rape of Persephone, her
the original, viz. , 30, and as George Villiers
was not born till 1592, it is quite clear it
cacy and refinement. Two examples, repre- return to earth, and the marriage of Zeus
senting
cannot be Buckingham, nor, indeed, could Figure of the Madonna," leave us cold, but not as a spectacle, but as a liturgical act
Repose and Prayer before the and Demeter, was played by the priests,
I discover a likeness to the “ favourite ”; the colouring of the other three, representing having for its object the assurance by magical
but it is a beautifully finished miniature, children at breakfast, reading, and at play(? ), means of good harvests and other benefits
and is deservedly given a place of honour.
is fresh, tender, and dainty. All are dated to the State. This he declares to have been
The interesting group of three (993), 1840, and belong to the Princess Arnulf of copied from the similar scenes represented,
belonging to the Baroness G. de Rothschild, Bavaria.
according to Herodotus, at different festivals
modestly termed Portrait d'Homme, de
Femme, et d'Enfant, I have already dealt Corinthum," and perhaps not all my readers
“Non cuivis homini contingit adire in Egypt which had the same intention, but
were not mysteries in the ordinary sense of
with in my notes on the English Section.
may find time to go to Brussels, but I the word, requiring a special initiation on
Another great name, one of the greatest
can safely promise those who do so that the part of the worshippers. In this view
in the history of the art, Petitot, must not they wil not be disappointed with the M. George Foucart, whose competence in
be forgotten, but the works shown do International Exhibition of Miniatures in Egyptological matters is well known, sup-
not compare favourably with the numerous the Avenue des Beaux-Arts.
ports him.
specimens of his wonderful skill which may
In conclusion, I venture to make a few THE learned Dominican Father Scheil has
be seen in the Jones Collection at the Vic remarks germane, as I think, to the subject just discovered, or rediscovered, the clay
toria and Albert Museum. Of the half- of these notes.
tablet containing the plan and description
dozen portraits here, that of Turenne
(on a snuff-box, 1023, belonging to Prince Brussels is undoubtedly a huge success.
(1) L'Exposition de la Miniature at
of the famous temple of Esagila at Babylon,
seen for a short time, but not copied, by the
de Lichtenstein) is, perhaps, the finest.
One of the most versatile and delightful mitted to be one of its most attractive Babylonia. It turns out to be a copy made
(2) The English Section therein is ad. late George Smith during his last visit to
artists of the eighteenth century, Jean features.
by the scribe Ea Belshunu at Erech, in the
Fragonard, is represented here by half
eighty-third year of the Seleucid Era (or
dozen examples.
(3) The works there shown are but a mere
He is not usually fraction of similar treasures available in
229 B. C. ), from anoth tablet found at
reckoned
miniature painter, but
his facility was such that he could paint in
Borsippa. It contains the measurements of
this country.
(4) With the exception of a small number, the number, names, and orientation of the
the courts and the sanctuary of the temple,
any manner, as specimens of his work here
abundantly prove.
Most of them are mostly from the Duke of Buccleuch’s Collec different doors and chapels, and also of six
marked by that broad, free handling tion, shown at the R. A. Old Masters 1879,
which corresponds to the examples to be seen
out of the seven stories or stages of the
no public exhibition of portrait miniatures famous ziggurat or step-pyramid celebrated
in the Wallace and Ashmolean Collections.
has been held in London since 1865. (the by Herodotus and Strabo. The description
They differ toto coelo from the portrait Burlington Club Exhibition of 1889 being a
of the sixth story is missing, as noted by
of the actor Préville (758), painted on a private show).
snuff-box belonging to M. Flameng. The
(5) The time seems ripe for a British municated by Father Scheil to the Académie
George Smith, which proves the tablet com-
likeness of this favourite actor is most Exhibition to be held in London in the near
des Inscriptions to be the same
as that
minutely and carefully finished, and is of future, say, in the summer of 1913.
formerly seen by our countryman.
a very different character from the rest of (6) To such an Exhibition, held under
Fragonard's work in miniature.
proper auspices, and with due precautions
MR. STEPHEN LANGDON, Reader in Assy-
A group of artists other than the for safety, contributions may confidently be riology at Oxford, has found among the
tablets from Nippur studied by him at the
French School may here be noticed, viz. , expected from owners who have been un-
Füger, Goya, Fendi, and Quaglia, a quartet
of willing to send their valuable collections Imperial Ottoman Museum at Constantinople
abroad.
a tablet containing a whole section of the
painters who show, it must be owned, very
different powers and styles of work.
(7) Besides the pleasure such an Exhibi- Code of Hammurabi, which purports to
Ferdinand
have been revised and transcribed by
tion would afford to the public, it should
Quaglia, the Italian artist,
the scribe Bel-ibni in the reign of Ham-
painted many portraits of the Empress (8) Raise the standard of miniature murabi's son and successor, Samsu - iluna.
Joséphine. There is in this Exhibition one painting, in this country; and last, but not He gathers from this that the Code shortly
of her (1041, belonging to M. E. Stern). His least, might
after its enactment was often copied, and
work may be seen in the Wallace Collection (9) Pave the way for the formation of a the examples sent to many places in the
in the shape of another portrait of the National Collection of Miniatures, to the empire, in order that no Babylonian should
Impératrice, painted long before great enjoyment and profit of succeeding be able to plead ignorance of the law.
Waterloo.
generations.
J, J. FOSTER, AFTER an interval of sixty-three years
A woman's portrait here, from the Doistau
the Cambrian Archäological Association
Collection, is dated 1826. But Quaglia is
will this year hold its Annual Meeting at
generally supposed to have died a year
before
Cardiff, the week selected being that of
that,
July 22nd to 27th.
a
as
a
1
-
## p. 663 (#501) ############################################
No. 4415, JUNE 8, 1912
THE ATHENÆUM
663
London Trio, 3 30, Æolian Hall
Elena Gerhardt's Recital, 8. 15, Queen's Hall.
Frederick Morley's Pianoforte Recital, 8. 15, Bechstein Hall.
Charles Anthony's Pianoforte Recital, 8. 30, Æolian Hall.
WED.
Alex under Raab's Pianoforte Recital, 3, Queen's fall.
Olenine d'Alheim's Vocal Recital, 3. 15, Bechstein Hall.
Steinway Hall.
Marion Dykes &picer's Vocal Recital, 3. 16, Æolian Hall.
Bronislaw Huberman's Violin Recital, 8. 15, Queen's Hall.
Eva Liesmann's Vocul Recital, 8. 15, Bechstein Hall.
Miss D'Almayne's Vocal Recital, 9. 30, Æolian Hall.
THURS. Paul Kochanski's Orchestral Concert, 3, Queen's Hall.
Wladimir Cernikoff s Pianoforte Recital, 3. 15, Æolian Hall.
Mario Lorenzi's Harp Recital, 3. 15, Broadwood's.
Robert Lortut's Pianoforte Recital, 3. 15. Bechstein Hall.
South Hampstead Orchestral Concert, 8. 15, Queen's Hall.
Bechstein Hall.
FRI. Tina Lerner's Pianoforte Recital, 3. 15, Polian Hall.
Nordica's Orchestral Concert, 3. 15, Queen's Hall.
Maggie Teyte's Vocal Recital. 3. 15, Bechstein Hall.
Frederick Stock and Victor Watson's Recital, 8. 15, Steinway
Hall.
ווווווווון
11111
Hall.
Rodolfa Lhombino and Heinrich Fiedler's Recital, 8. 30,
Bechstein Hall.
Clark Butt and Kenderley Rumford's Concert, 3, Royal
Albert Hall.
Mengelberg-Schelling Concert, 3, Queen's Hall.
Leila Doubleday and Arthur Alexander's Recital, 3. 15,
Eolian Ball
Il 11
Fanny Davies and Pablo Casals's Concert, 8. 15, Æolian Hall.
this opera is remarkable, for though it is
TUES. Paulo Gruppe's 'Cello Recital, 3. 15, Bechstein Hall.
ably written, the style of the music differs
MUSIC
from that in vogue at the present day.
SIGNOR BUSONI gave an orchestral concert R. and E.
Laparra's Pianoforte and Violin Recital, 3. 15,
at Queen's Hall on Wednesday evening,
WOLF-FERRARI'S ‘I GIOJELLI DELLA The first part of the programme included
MADONNA. '
Beethoven's ' Emperor Concerto and Liszt's
‘Dies Iræ' Paraphrase, the accompani.
WOLF-FERRARI was born at Venice in
ments to which were played by the Queen's
1876, and his first two operas were produced
Helen Sealy's Evening Concert, 8. 15, Æolian Hall,
Hall Orchestra under Sir Henry Wood's
in that city. Afterwards he went to Munich direction, The second part of the pro-
Mary, Jocelyn and Frank Gleeson's Vocal Recital, 8. 30.
and studied with Rheinberger. There he gramme included Mozart's Overture to
produced ‘Die neugierigen Frauen. ' His
Die Entführung aus dem Serail,' to which
latest opera, 'I Giojelli della Madonna,' pro- Signor Busoni has added a short and
duced last year in America, was given at effective coda, as in Mozart's score it leads
Gervase Elwes and Campbell McInnes's Recital, 8. 30, Æolian
Covent Garden on Thursday in last week without break into the opening scene. The
for the first time.
pianist's 'Berceuse Élégiaque for orchestra Sat.
Wolf-Ferrari is only thirty-six years old.
proved somewhat artificial in its harmonies,
It is, therefore, not surprising to find his
yet the coda was impressive. Last in the
music showing the influence of Wagner,
his
programme came Turandot' Suite.
Jane Gair's Vocal Recital, 8, Bechstein Hall.
especially in the dramatic scene between
Its earlier numbers are very characteristic,
Gennaro and Maliella in the second act.
but, like most incidental music-it was
In the first act, with its laughing, bustling originally written to Gozzi's comedy
crowd, and the solemn procession and singing Turandot'-it is not heard to best advan.
of the chorus, the composer shows that his tage in the concert-room. These works were
DRAMA
studies with Rheinberger enabled him to ably conducted by the composer.
present striking contrasts with considerable
effect; for the chanting of the choir in LAST SATURDAY AFTERNOON Sir Henry J.
Gregorian melodies accentuated the contrast Wood gave a Hamlet concert in the
THE IRISH PLAYERS.
between the sacred and the secular music. Empress Hall, at the Earl's Court Exhibition. The presence of a massed and enthusiastic
This first act achieved a legitimate success.
In the second act, to which reference has Symphonic Poem 'Hamlet,' but Ramann, his audience at the Court Theatre on Monday
been made, the music was appropriate, biographer, concluded, from a note on the night, at the opening of the season of the
yet, owing to the Wagnerian influence, it manuscript score, that it was intended as a Abbey Theatre Company, was ample
did not create strong interest. Nor was it Prelude for a performance at Weimar of testimony that these original players
worked up, as in the first act, to an impres- Shakespeare's play. The music is interest- have at length reached the inner citadel
sive climax.
ing, though naturally sombre, with the of favour in London drama. For that
In the third act there was clever music,
exception of a short section intended, no
but here again the close was unsatisfactory. doubt, for Ophelia. As Prelude to the play for nothing can
be more damaging to their
reason it behoves them to be circumspect,
The music was not powerful enough to it would create the right atmosphere, but
counteract the realism of Gennaro's death.
as a concert piece it is not effective. Another exquisite art than the popularity of
Throughout the opera Neapolitan folk: number in the programme was ' L'Enterre- London playgoers-somewhat clamorous,
melodies were introduced for the purpose of ment d'Ophélie, by Bourgault Ducoudray, aggressive, and too eagerly responsive
local colour; but only in a few instances an emotional and delicately scored piece, to note the finer shades of dramatic repre-
did they prove characteristic. The aim of given for the first time in England.
the librettists, C. Zangerini and E. Golisciani,
sentation. Appropriately enough, they
so it seems to us, was to arrange a series of The sudden death is announced in his inaugurated their programme with Mr.
sensational tableaux rather than to present 61st year of Jan Blockx, a Flemish composer W. B. Yeats’s ‘Kathleen Ni Houlihan'
a story of strong and developing human whose works were successful not only in his and Synge's 'The Playboy of the Western
interest. Maliella, a kind of Carmen, is the native city Antwerp, but also in Belgium and World,' which threw certain ferocious
most striking character.
in France. His Herbergprinses,' produced Philistines of America into an anguish
The impersonation of Maliella by Madame in 1896, was his first work for the stage, of deprecation and gave the play itself
Edvina was excellent, though her voice is though previously he had written many the subtlest form
of
advertisement.
not quite suited to the part. Signor Marti- vocal and instrumental works. Another
nelli as Gennaro sang well
, but his rôle did successful opera of his was . La Fiancée de la It is because the present critic has seen
not enable him fully to display either his Mer,' produced two years later.
and delighted in The Playboy' many
histrionic or his vocal powers. The per-
times that it is incumbent upon him to
formance, under the direction of Signor
ACCORDING to Le Ménestrel, a complete warn its interpreters against accepting
Campanini, was excellent, and the staging of libretto of “King Lear' in Verdi's hand-
the piece deserves all praise.
writing has been discovered among his any other standard of valuation than that
An English version of the libretto has papers. This confirms the report that he they themselves revealed when first it was
acted in London. "The Playboy
intended to write an opera on that subject.
been made by Mr. Claude Aveling.
' is
by no means the simple “comedy
HERR SIEGFRIED WAGNER, whose opera that the majority of London critics would
Banadietrich' has just been produced at have us believe. Its strands are woven
Musical Gossip.
Vienna, has stated that there will be no
of both comedy and tragedy, patterned
festival performances at Bayreuth in 1913. into an harmonious shapeliness upon a
MANY opera-goers regard Rossini's “Il BERTHOLD LITZMANN's biography of background of grim actuality, shot through
Barbiere ' merely as an amusing opera, and Madame Schumann has been translated at the same time, for all its sternness,
the Lesson scene with a prima donna from the fourth German edition by Miss with a radiant and transfiguring imagina-
of note as most enjoyable ; but there is Grace Hadow, and will. shortly be pub- tion. It is satire, poetry, realism, and high
genius in the bright, spontaneous music; lished by Messrs. Macmillan & Co. , with
moreover, the agreement between tone and an Introduction by Dr. W. H. Hadow. exuberant humour poured into and fused
word is complete. The performance last The book will be in two volumes, with in the alembic of art. Only so puissant
Saturday evening, at Covent Garden with portraits and other illustrations.
a dramatist as Synge could have sharpened
Madame Tetrazzini as the Rosina was
and finished such heterogeneity into
brilliant. Both Messrs. McCormack and
dramatic verisimilitude. For, however
Sammarco as the Count and Figaro sang
much the critics may differentiate between
well, though their acting was more or less
the transcendent prose - poetry of The
formal.
Playboy' and its dramatic machinery,
On the following Monday 'Samson et
Dalila' was given, the two chief rôles
the two are inseparable.
being taken by M. Paul Franz and Madame
London Symphony Orchestra, 8. Queen's Hall.
Kirkby Lunn. The latter was at her
The Playboy of the Western World. By J, M. .
best.
Synge.
M. Franz, both in voice and appear.
Recital. 8. 15. Ateinway Hall.
ance, is an ideal Samson. The success of
Kathleen Ni Houlihan. By W. B. Yeats,
66
PERFORMANCES NEXT WEEK.
Sun. Special Concert, 3. 30, Royal Albert Hall.
National Sunday League Concert, 7, Queen's Hall.
Mox. -SAT. Kogal Opera, Covent Garden.
Mox. -SAT. London Opera House, Kingsway.
Mox. Nora and Frederica Conway's Recital, 3, Steinway Hall.
Joseph Malkin's 'Cello Rectal, 3, Bechstein Hall
Irene St. Clair's Song Recital, 3. 15, Æolian Hall.
Olenine d'Alhein's Vocal Recital, 8. 15, Bechstein Fall.
Christian Keny and Betty Goodden's Voorl and Planoforte
Apna Hoeckner's Evening Concert, 8 15. Empress Rooms.
Lierbammer's Vocal Recital, 8. 45, Æolian Hall.
IIIIIII
## p. 664 (#502) ############################################
664
No. 4415, JUNE 8, 1912
THE ATHENÆUM
BELL'S
BOOKS.
Lady Gregory, Mr. W. B. Yeats, and
MESSRS.
Mr. W. G. Fay have superintended the Dramatic Gossip.
training of the Abbey players with rare
zeal and devotedness. They responded ‘LE MAITRE DE FORGES,' which has been
in a composite body so freshly and with presented at the Little Theatre, was a piece
such discrimination that they flashed like highly successful in its own generation, and
remains probably M. Georges Ohnet's best
NOW READY. Post 8vo, 78. Bd. net.
and drab
mediocrity of acting. It will achievement. To-day modern audiences, A CHRONICLE OF THE POPES.
therefore be perilous in the extreme for in the prodigality of dramatic scenes which
From St. Peter to Pius X.
the future of acting should they allow occur in the play. In spite of M. Ohnet's By A. E. McKILLIAM, M. A.
themselves to be seduced from the track hatred of the commonplace, it is difficult “The short biographies of the different Popes have been
prepared with evident care, and to students of history this
of their early and perfect renderings. to suppress the criticism that, after all,
handbook should be of much service. A well-compiled
There were ominous manifestations on
'Le Maître de Forges' is conventional and index enhances the value of the volume as a book of
reference. "-Scotsman.
Monday night of such a tendency. The insipid. As is invariably the case with the
absence of so vital a personality as
French players, the acting reached a high NOW READY. Medium 850, 108. Od. Det.
level. Madame Émilie Lindey as Claire
Miss Maire O'Neill may have accounted de Beaulieu, although sincere, was a little
PITT AND NAPOLEON
for it in some measure ; for Miss Eithne lacking in restraint, and tended at times to
Magee as Pegeen Mike, markedly successful obtrude her personality. It is well worth
Essays and Letters.
as she was, lacked the passion, the insight, seeing the play to watch the acting of
By Dr. J. HOLLAND ROSE,
Reader in Modern History, University of Cambridge.
and the esoteric sense of poetry of her M. Bouzin.
“ This book in reality forms the third volume of Dr.
predecessor. One sought in
THE second week of the Irish Players' | light is thrown on many points which arise both in
Holland Rose's Life of Pitt. ' In it new and important
that smooth interaction of temperament season at the Court will be occupied by • William Pitt and National Revival' and William Pitt
between Pegeen and Christopher Mahon four plays-two by Lady Gregory : The and the Great War. ' Taken togetber these three volumes
may be regarded as the standard biography of the patriotic
which results in a kind of interchange of Jackdaw' during the first part of the week,
statesman whose untiring exertions brought about the
their two salient characteristics - her
and 'The Rising of the Moon' during the Union between England and Ireland. . . . One of the most
important historical works which has appeared since the
shrewish vitality tempered into softness, riage and Mr. Lennox Robinson’s ‘ Patriots'
last. Mr. St. John Ervine's Mixed Mar-
commencement of the present century. "-Outlook.
his shy naive timidity into a bold and will be the other two.
masterful “likeliness. " That was partly
BY THE SAME AUTHOR.
Mr. O'Donovan's fault. In a way that we
THE LIFE OF WILLIAM PITT.
TO CORRESPONDENTS. - A. H. F. - E. T. -C. K. 0. -
have never seen him do before, he slurred J. J. F. -Received.
J. H. A. -Not suitable for us.
Vol.
