No More Learning

briefly than usual because, in spite of the Director of the National Gallery for their
illustrious patronage it now for the first acceptance.
A RETROSPECTIVE EXHIBITION of works by
time enjoys, the great majority of its ex-
Eugène Boudin is now open at the Galerie
The former picture, which was in the
hibits are regrettably commonplace. Chief William Graham Collection until 1886, and
Bernheime Jeune, Rue Richepanse, Paris.
among the exceptions are Nos. 52 and 54,
was exhibited at Burlington House in 1885,
THE 'Lettres de Vincent van Gogh à
hanging as pendants to each other, and by as well as at the New Gallery in 1893, was, Émile Bernard' will be published next week
Messrs. W. W. Russell and William Orpen according to Mr. Berenson, copied by the in Paris with 100 illustrations.
respectively. The first is elaborate
design for å single-figure picture, both plasti- meo Caporali from Benozzo's 'Madonna, received what is described as a very beautiful
contemporary Umbrian painter Bartolom-
THE MUSÉE DE L'ARMÉE, Paris, has just
cally and as a colour-scheme extraordinarily Saints, and Angels' in the National Gallery miniature of the Emperor Napoleon": I. ,
capable and well-knit. Into this the head (No. 1461).
of a lady has been “inset, as the printers
which formerly belonged to his secretary,
say. Any other head would have done as
The small picture by Monaco, which was Baron Fain. The name of the artist is
well, and this failure to establish any sym-
in the G. C. Somerville collection in 1887, and apparently unknown. Το the same
pathy between the enclosing planes of the figured at the New Gallery in 1893 with Museum have been added a bust and a
head and the other forms of the picture an ascription
to Masaccio, seems to have portrait, also by unknown artists, of General
, a
which should make a base for it prevents us
originally formed part of the predella of a Claparède, a pair de France under the
Restoration.
from regarding it as a supremely fine por- large altarpiece.
trait. Mr. Orpen's outlook on painting is the
THE NATIONAL GALLERY OF IRELAND is A SIXTEENTH-CENTURY painting of St.
antipodes of that of Mr. Roger
Fry--the latter fortunate in possessing three Rembrandts John was stolen on New Year's eve from the
being absorbed in a knight-errant's quest of the beautiful moonlight landscape known as church of St. Sebastian at Sienna.
an
2
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## p. 50 (#58) ##############################################

50
No. 4394, Jan. 13, 1912
THE ATHENÆUM
our
THEFTS of works of art continue to be MR. WALTER GREAVES, whose pictures
alarmingly, frequent. In the Journal des made him a name at the Goupil Gallery last
MUSIC
Arts a list is given of robberies from churches year, and raised a controversy which we
and museums in France during the last three notice elsewhere to-day, is now showing a
years. The church of St. Victor at Xanten, collection of his paintings and drawings at
on the Lower Rhine, has recently lost two Messrs. Cottier's Gallery, New York.
OUR LIBRARY TABLE.
valuable tapestries of 1574, which were
stolen on the night of November 24th. The THE SANDON STUDIOS SOCIETY is holding
Style in Musical Art. By C. Hubert H.
Cicerone of December gives a full descrip- an exhibition of pictures in the foyer and Parry. (Macmillan. )—“Style,” says
tion of them and a small reproduction. saloons of the new Repertory Theatre at author, " is the perfect adaptation of means
Liverpool, among the more notable exhibits to ends. " For instance, to take simple cases,
THE Mills of Montmartre, long threatened being the landscapes of M. Albert Lipczinsky, there is one style for instrumental music,
with destruction, have now been saved for the figure subjects of Mr. E. Carter Preston, another for vocal ; one for church, another
for the theatre, &c. The form in which a
Paris. As a result of petitions signed by and a portrait of a lady by Mr. Henry Carr.
work is presented is of great importance,
leading artists and poets, the Conseil
PARIS artists have addressed a letter to and style and form, we are reminded, are
Municipal has decided to purchase the
Don José Canalejas, the Spanish Prime nearly akin. ” On the Sonata form, which,
land on which the windmills are situated, Minister, petitioning for the pardon and for over half a century, has been the centre
and turn it into a public square.
early release of the Spanish cartoonist of hot discussion, Sir Hubert has much to
Señor Sagrista, now undergoing nine years' say, and for a time he seems to be entirely in
Some interesting additions have recently imprisonment for his cartoon Homage to agreement with what was once called
the
been made to the Brussels Museum.
M.
Ferrer. ' The petition is signed by MM. new school. ” Liszt thought that this fettered
Cardou has presented his picture by Jan Rodin, Abel Truchet, Willette, Frantz the imagination; and Sir Hubert considers
Sieberechts, Le Départ pour le Marché,' Jourdain, Besnard, Zuloaga, Forain,
that it is indeed proving “too limited,”
dated 1664, which aroused so much interest Lebasque, Leandre, Ábel Faivre, Zislin, and and suitable only for what is called abstract
at the Exhibition of last year; and the other artists. M. ' Zislin is the Alsatian music. In fact, Beethoven, “ before he had
collection of Dutch drawings formed by the caricaturist who underwent a few months' done with it, proceeded to introduce features
late M. de Grey has been presented by his imprisonment in Germany last year for his which were bound to effect its dissolution. ”
widow. The collection comprises drawings caricature of the Kaiser.
Liszt looked upon Beethoven's work, espe-
by all the most celebrated Dutch masters,
cially the sonatas, as a guide to further
and is so large that a special room has to be A MASKED COSTUME BALL (under the progress, and Sir Hubert himself, though not
assigned to it.
auspices of the Allied Artists' Association) in the volume before us, finds that
will be held in the Chelsea Town Hall on in the actual treatment of the subject-matter
THE controversy relating to Rembrandt's Wednesday, February 7th.
Liszt adopts [i. e. , in his B minor Sonata), as Beet.
• Widow Bas,' to which The Athenæum
hoven has done, the various opportunities afforded
referred on the 16th and 23rd September THE CONTEMPORARY ART SOCIETY, whose not only by harmonic structural principles, but
last, is still exercising the minds and exhibition at Manchester has attracted by the earlier. fugal and contrapuntal devices,
taking up the time of experts. Prof. much attention, has now arranged four breadth and freedom to a thoroughly modern
and by recitative, adapting them with admirable
Martin has made a searching examination other shows in important centres outside style of thought. ”
of the picture, the results of which he London. A similar collection to that at Liszt, again, would have cordially endorsed
will shortly publish. The writer in the Manchester will be shown at Leeds from
Sir Hubert's statement that Beethoven was
Cicerone adheres to his opinion that it the beginning of February to the end of the great prototype and fountain-head
is closely connected with J. Backer, whose April ; at Aberdeen during May and June;
best works often pass Rembrandts. at Bradford from July to September ; and
of the romantic phase of art. "
Dr. Bredius attributes it to F. Bol, and Drs. at Newcastle-on-Tyne during October and
Sir Hubert says of the early days of
Bode and Hofstede de Groot uphold the November.
programme-music" that
claims of Rembrandt.
' it was natural for people to go astray. For
MR. BANISTER FLETCHER continued his mixed with the impulse to find new paths was the
It is satisfactory to learn that those in course of University Extension Lectures instinct of rebellion against the apparent constraint
authority in the Cathedral of Prato have at
of the sonata forms. But the experience of a
Ancient Architecture,' dealing with few generations has shown that music with a
last decided to remove the gaudy draperies the Roman, Early Christian, and Byzantine definite representative intention can accord with
by which Giovanni Pisano's beautiful styles, at the British Museum, on Tuesday the general principles of structural and textural
Madonna della Cintola 'was disfigured, and last. This month and next will be occupied development of which the fugue and the sonata
were the earliest mature types. "
to make it more accessible to students, though with Rome.
the light in the Chapel of the Girdle where
The early days were those of Liszt and
He also began a second set of twelve lec- Berlioz, and of the later composers to whom
it stands leaves much to be desired. The
statue is the last work of Pisano, and one of Victoria and Albert Museum, embracing the whom he mentions elsewhere by name,
tures on 'Renaissance Architecture ' at the
Sir Hubert refers one is Tschaikowsky,
the most perfect he ever produced.
Elizabethan and Jacobean periods in Eng- and another, evidently Brahms, though his
land and the later Renaissance, on Monday
name is not given. We have no intention
THE announcement of the death of Señor last.
of questioning the justice of Sir Hubert's
Aureliano de Beruete will be received by his
many friends in this country with deep Renaissance examples, which will be visited qua music ; we only desire to justify Liszt in
The museums are rich in ancient and forcibly expressed opinion of Liszt's music,
regret.
wide and profound knowledge, more par; class held at the end of each discourse.
An accomplished artist, a critic of and explained by the lecturer during the endeavouring, as we think, to continue the
work of development in the spirit of Beet-
ticularly of every phase of Spanish art, and
hoven.
the author of at least one standard book-
that on Velasquez, published in Paris in THE question of the “ Bismarck Denk- (xvii. ) entitled Theory and Academicism. '
Sir Hubert has an admirable chapter
1898, and in English in London in 1906—he mal” on the Rhine has at length been
will be a great loss not merely to the art
decided. Critics who saw the exhibitions is the “awkward” question of theory <a
One of the subordinate difficulties of music
circles of Madrid, but also to Europe.
of the designs for this great national monu-
word which is well and humorously de-
The good work which he initiated and models to which prizes were assigned, and
ment were unfavourably impressed by the
scribed as
carried on for so many years is being con-
by the inappropriate character of the one
a moderately coherent statement of what may
tinued by his son, Señor A. de Beruete y, apparently selected for execution.
be called rules for cobbling adapted as far as
Since
Moret, whose book "The School of Madrid
possible to the mental capacities of babes and
then a further committee has sat in sucklings. "
was published by Messrs. Duckworth in judgment on the matter, with the result that Our author sympathizes with those who
1909, and reviewed in The Athenæum of the Kreis-Lederer design, which had received
September of that year.
' rebel against any particular kind which
no recognition at the hands of the exhibition mainly consists of dogmatic assertions. ”
Señor de Beruete was not only an artist judges, has been selected. It is certainly
It would be all very well," he adds, “if,
and a writer on art, but he was also a collector the one best fitted to stand as a permanent to illustrate principles, examples of the
and formed a gallery of pictures, chiefly of memorial to the Iron Chancellor.
practice of the great masters were given ;
the earlier and less - known artists of the
but as a rule they are not. ” Examples from
Spanish School. These he generously lent
great masters formed, by the way, a special
to various exhibitions, sending many to the
and excellent feature of the works on
display of Spanish art at the Guildhall
harmony, &c. , by Ebenezer Prout, and
in 1901.
we have recently had a few more treatises
as
on
66
C6


## p. 51 (#59) ##############################################

No. 4394, Jan. 13, 1912
THE ATHENÆUM
51
on the same lines. One notable“ drawback" carried on simultaneously. The next Con-
of theory insisted upon is that it gives ference of the Society will be held at Bir-
permanent interpretation to something which mingham.
DRAMA
is “always changing. ” That, however, in-
THE CLASSICAL CONCERT SOCIETY an-
telligent teachers would surely point out,
Another “ drawback" is one which affects
nounces ten concerts of chamber music at
style. Theory was first founded on what January 24th and 31st, February 7th, 14th,
Bechstein Hall on the following dates :
OUR LIBRARY TABLE.
was good for vocal music, but many things 21st, and 28th, and March 6th, 13th, 20th, Plays for an Irish Theatre (A. H. Bullen)
ALL seven of Mr. W. B. Yeats's just issued
are possible for instruments which are not
possible for voices; hence it comes that and evening respectively, and they follow
and 27th. The first two are in the afternoon
are one-act pieces. In them he makes
theory is “not truly in touch with any
in a similar
music at all," and that it leads to the base
manner.
somewhat large demands upon the stage
Five movements
“ academicism,” which takes mere har- from concertos for fute, pianoforte (harpsi- and stage audiences. To a generation that
mony exercises as apt for either voices or chord), and 'cello (viola da gamba), by is relatively prosaic, and would rather have
instruments ; while, in fact, they are apt interesting. With the exception of these, a
Rameau, in the first programme, will be its eyes charmed than listen attentively in
the playhouse, he offers poetry, and poetry
neither for the one nor the other. "
whole of this and indeed of other chapters Tovey, and Dvorák's Serenade for wind with themes that often enough are much
Quartet for strings by Mr. Donald Francis which calls for careful declamation, along
-is full of practical wisdom.
instruments (Op. 44), the concerted works
more a poet's than a playwright's choice.
are by Bach, Haydn, Mozart, Beethoven,
Such a story, for instance, as that he sub-
Schumann, Mendelssohn, and Brahms. The
mits in 'The Shadowy Waters,' which has
pianists are Miss Fanny Davies, Madame for hero a dreamer-captain of sea-robbers
Ansical Gossip.
Elly Ney, and Messrs. Leonard Borwick
questing for some mystic love amid an atmo-
and Donald F. Tovey; and the singers, sphere of ocean solitude and supernaturalism
MASSENET'S ‘Le Jongleur de Notre Dame Madame Lula Mysz-Gmeiner, and Herren that Coleridge might have invented had he
was given at Covent Garden in 1906, but, Excellent artists have been engaged for
Thomas Denijs and Anton van Rooy.
been of Irish extraction, would have lent
itself better to epic or ballad treatment
though exceedingly well performed, did not strings and wind, among the former being
than to handling in the theatre, where fancy
appeal to the public. Last Wednesday Herr Adolf Busch and Señor Pablo Casals.
must make so hard a fight to hold its own
evening it was revived at the London Opera-
against the moods of matter-of-fact literal-
House, and here again the work was well For a time Sir Edward Elgar devoted ism. Mr. Yeats does his best, thanks to
rendered; but it will be long before another himself to oratorio, but after the production the brisk talk and grim threats which he
Brother Boniface equal to the late M. of his first Symphony in 1908, a second puts into the mouths of mutineers, to com-
Gilibert will be found. The part of Jean the quickly followed, and then a Violin Concerto. promise with the requirements of his medium
juggler, though originally sung by a tenor, Ñow he will be engaged on a secular and to suggest the pulse of drama; yet his
was taken by Mlle. Victoria Fer. A change work of very different character, namely, an lover who is so amorous of death and the
of this kind seemed to us to spoil the whole Imperial Masque entitled “The Crown of captive queen who is converted instan-
atmosphere of the piece. We, however, India,' which is to be produced at the taneously from hatred to slavish adoration of
frankly acknowledge that Mlle. Fer's imper- Coliseum, it is hoped, early in the this visionary are creatures too ethereal, too
sonation of the poor Juggler was excellent, spring. The libretto and lyrics will be bloodless, one would think, not to shrivel
especially in the closing chapel scene. She written by Mr. Henry Hamilton.
away into nothingness under the glare of the
sang well, and her gestures and facial
footlights.
expression were most striking. It was just
THE GRESHAM LECTURES for Hilary Term Another tale that would have been more
in that final scene that her histrionic powers will be delivered by Sir Frederick Bridge at
naturally told in poetic narrative than in
were strong enough to make one forget that the City of London School, January 23rd
the mode Mr. Yeats has adopted, deals with
a woman was playing the part. We have to 26th. The subjects will be 'Some of
the revenge a poet of old time is supposed to
already written twice about Massenet's work Samuel Pepys's Musical Friends,' Old
take on his royal host. The king had put a
in The Atheneum—first, when we heard English “ Fancies” for Strings ' (continued),
slight on the song-maker at table, where-
it in Paris in 1905, and again in the following and 'Bach's Concertos and Double Concertos
upon the guest insists on starving till he has
year after the Covent Garden performance. for, Clavier,' while the last will concern
humiliated the proud ruler into apologizing
There is no need, therefore, to repeat the ‘L'Amfiparnaso,' the first comic opera in
for his fault, and accepting his crown back
quaint story founded on an old Catholic madrigal style, produced at Modena in 1594.
from the poet's hands. One might almost
legend. The music, a clever compound of
Massenet and Wagner,
MR. LEONARD BORWICK will give a piano-
say that in this play of “The King's Thres-
is admirably in
forte recital at Queen's Hall on Tuesday
hold' its writer takes the function of the
keeping with the libretto.
afternoon, February 6th, and this will be
man of words
We do not think the public in London his first appearance in London since his
too seriously, and in this
connexion it may be remembered that he
listen to the work in the right spirit, and return from his long tour in Australia, New
makes his Deirdre in the height of her
perhaps it is not altogether their fault. It is Zealand, and America.
agony bid the musician at her side com-
described as an opera, but the French libretto
pose a fine song about her fate so that it
calls it a “Miracle,” or, as
we should MENTION has already been made of Prof. and she may go down to posterity. Some
say in English, a Miracle Play. It should Stein's discovery, in the library of the of Homer's characters, it is true, expressed
be listened to in silence. The applause on Academy Concerts, established in 1769 at a like desire, but only in breathing spaces
Wednesday
most disturbing. Mr. Jena, of manuscript orchestral parts of a after they had escaped from their perils. A
Plunket Greene, in one of his excellent Symphony with Beethoven's name on two third piece, 'The Hour-Glass,' is expressly
lectures last season, spoke of the value of a of the parts. What, we wonder, became of described as a morality,” and may pass as
moment or two's silence before a singer the score ? If genuine, the work was probably a good enough imitation of its type ; still even
begins ; and it is still more beneficial during w en before the composer's first Sym- in this case
it is difficult to believe that the
the performance of a dramatic work, and phony in c. It is shortly to be performed spectacle postulated of an angel catching in
especially one, as in this instance, of a
in various German cities, and in London by its hands the soul of a dying man as it
religious character. Signor Luigi Cherubini the New Symphony Orchestra under Mr.
the New Symphony Orchestra under Mr. issues from his lips in winged shape would be
conducted ably, though at times the orchestra Landon Ronald's direction on March 30th. plausible in stage presentation, just as the
was too loud for the solo voices.
The music will excite curiosity, but its idea of Forgael's harp, shining like the moon
6
was
66
interest will probably be chiefly, if not as he touches it, and exercising an irresist-
THE ANNUAL CONFERENCE of the Incor- entirely, historical.
ible magic on even enemies who hear its
porated Society of Musicians took place at
strains, must surely be more impressive as
Llandudno last week. One of the most
conceived by the reader of a poem than
interesting papers was that read by Mr.
when rendered actually visible and phos-
H. W. Richardson 'Ear Training and Concert, 3. Royal Albert Hall.
phorescent in the theatre. Yet in point of
Musical Appreciation, suggesting that the Sunday Leaguo, 7, Queen's Hall
fact all three plays have been produced in
latter should be taught in special classes,
Dublin.
while in discussion it was held that such Miss Gwynne Kimpton's Orchestral Concerts for Young
People, 3, Æolian Hall.
Mr. Yeats would seem to need the aid and
teaching should anticipate the acquirement Sara Silver's Vocal Recital, 3, Steinway Hall.
stimulus of matter of Irish legend and folk-
of technique.
But surely teachers do, or TUES. Richard Buhlig's Pianoforte Recital, 3. 15, Steinway Hall. lore, or else the inspiration of Ireland's
ought to talk to their pupils about the
sufferings, before he can get “body” into
pieces they are studying, and that seems
his plays. "Deirdre,' for example, though
to us a more practical plan than special
a little faint in its dramatic colouring,
classes. The other suggestion, again, seems
is a true tragedy, beautiful in more than
to separate two things which could be
Bolly String Quartet, 8. 15, Bechstein Hall.
a merely poetic sense ; and ‘On Baile's
PERFORMANCES NEXT WEEK.
Sox.
Sunday Concert Society, 3. 30, Queen's Hall.
TUES. , WED. , PRI, and Sat. London Opera House. (Matinde also on
Saturday. )
Mox,
London Symphony Orehestra, 8. 30, Queen's Hall.
Mies Helen Henschel's Matinée, 3. 15, Bechstein Hall.
Walenn Quartet, 8. 15, Æolian Hall.
WED. Hociété des Concerts Français, 8. 30, Bechstein Hall.
THURS. Twelve o'Clocks Chamber Concert, Eolian Hall.
Berget Tarnowsky's Planotorte Recital, 3, Bechstein Hall.
Broadwood Chamber Concert, 8. 30, Eolian Hall.
SAT. Queen's Hall Orchestra, 3, Queen's Hall.
kowsby Woof's Violin Recital, 3. Bechstein Hall.


## p. 52 (#60) ##############################################

52
THE ATHENÆUM
No. 4394, Jan. 13, 1912
1760-1860.
158.
net.
Vol.
III.
1860-1911.
88. 6d. net.
-
scious slaying of his own son—which is of MESSRS. LONGMANS & CO. 'S LIST DEIGHTON, BELL & CO.
the very stuff of tragic drama. An odd
NEW EDITION OF MAY'S CONSTITUTIONAL
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HISTORY OF ENGLAND.
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called “heroic farce,” in which fun is poked The Constitutional History of By Henry Latham, M. A. ,
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to
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Libros V adversus Haereses. Praemissa de
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