No More Learning

noble composition. With this small reser-
The amount of information
compactly We have dealt with a portion only of vation we esteem it one of the most delightful
presented is remarkable, and it may fairly these comprehensive studies. The other paintings of the English School. It is an
be said that every reasoning British archæ. articles are all well supplied with references, instance of inspired improvisation of extra-
ologist ought to read these pages. Some e. g. , in 'The Cult of the Horse' Prof. ordinary charm. A fine water-colour (157)
omissions and slips occur from time to time, Ridgeway's original researches are referred by Turner in his restrained early manner,
but they are comparatively trivial when to. Throughout the volume is well illus- and a Corot (145) remarkable for the
set against the great store of garnered facts. trated.
subtle modulation of the ground plane, are
It is happily one of the distinguishing
also noteworthy; but the large Cotman (117),
features of the book that the author has no
Scene on the Norfolk Coast, despite a well-
preconceived theories to back up, but en-
SPRING EXHIBITION AT MESSRS.
painted sky and distance, is disappointing,
deavours fairly to set forth the diverse views
SHEPHERD'S GALLERY.
the main body of the painting being couched
of other writers without partiality.
in a brown monochrome over-modelled to
In dealing with the deflection of churches,
RUBENS's Virgin and Child and St. John, the point of losing its solidity, and leaving
Mr. Johnson seems scarcely to have grasped scrupulously withdrawn from a previous the sky over-coloured by comparison.
the reason for the scorn with which some show because doubts were expressed as to
of the best writers of modern days treat its authenticity, returns as No. 152 of the
the popular theory. The idea that a twist present exhibition with a guarantea from
in the chancel as compared with the nave, the pen of M. Max Rooses. Few will find
DRAWINGS BY THOMAS
threefold deflection, such as cha- any difficulty in accepting his assurance as
ROWLANDSON.
racterizes Lichfield Cathedral and a
few
to its origin, but it can hardly be regarded
other churches, was deliberately planned with general satisfaction. The colour is tired, THE catalogue of this exhibition at
by medieval builders to portray the in-
and the drawing to an extraordinary degree Messrs. Colnaghi & Obach's Pall Mall
clination of our Lord's body on the Cross,
flaccid and lacking, in sense of structure, Galleries includes an essay from the pen
is fairly entitled to ridicule. For, to the head only of the Virgin being to some of our own late critic—F. G. Stephens-
accomplish this, there must have been a extent worthy of the master. Considerable reprinted from The Portfolio of July, 1891,
direct understanding between builders sepa-
interest attaches to two small copies of which affords a just estimate of the relative
rated from each other by centuries of time. Van Dyck-Charles I. on Horseback (105 in merits of Rowlandson and Gillray, their
When advocates of this symbolical notion the present collection) and Charles I. on predecessor Hogarth, and their follower
can point out one or two churches, known Horseback, accompanied by M. de St. Cruikshank.
to be erected throughout at the same time, Antoine (113). The latter is ascribed, The Faro Table at Devonshire House
with deflections of this character, they may
doubtless correctly, to Dobson; but not (4), is a lively illustration, if artistic-
possibly be able to prove their case; but withstanding all the varied, accomplish ally inferior to many of the drawings
at present all the cited cases of deflection ment of his technique, it is the copy alongside it. The brilliant Auction Scene
pertain to different architectural periods.
of the National Gallery picture which is the (18) may be taken as but one of these.
An interesting section is that which deals more admirable performance. It has an It is amusing as an estimate of the en-
with The Secular Uses of the Church enamel-like force of colour difficult to
thusiasts who price works of art by the
Fabric. With regard to stocks, Mr. John- parallel among the comparatively little. man in closer touch with life who makes
con seems to have little knowledge of Corn. known English painters of the time.
them. The satire may be a little unkind
wall. He cites a single Lincolnshire instance Among the portraits, an early Raeburn, in this drawing, but the essential charac-
in which stocks were kept under the church Mrs. Patrick Roberlson of Gallowflat, shows terization of habitual pose and mental
tower. In Cornwall, at the present day, he painting less elaborate, but more inti- attitude remains applicable.
would find the old stocks in the porches or mate, than we are accustomed to. It is One of the most beautiful drawings in
within the church itself, in at least a score free from the ill-balanced accomplishment the collection is No. 55, A Snug Cabin, or
of cases.
As to “church armour,” there is which endows most of his figures with a Port Admiral. The cabin is snug indeed
no doubt that it was identical with “parish material solidity out of proportion with ---a very paradise of buoyant adventure,
armour”; it was usually, if not invariably, their vital reality. No. 103, A Soldier of high up in the projecting forecastle of
stored in some part of the church, as can be Fortune (called Spanish School, but with some old frigate, so that the windows
proved from a hundred churchwardens' ac- a Flemish flavour in the execution), has project at an angle facing slightly down.
counts up and down the country. The author the same fault, and looks like an ingeniously wards. Through them the sunlight re-
might, too, have added a large number of devised waxwork figure a fairly lifelike flected from the sea floods the massive
beams of the cabin roof and fills the
instances of the storage of gunpowder within effigy of challenging actuality rather than a
church fabrics, which led to disastrous living creature in an unreal world, which room, so that the joyous company at
results in three or four well-known cases. would be the more accurate description of a table seems slung magically in space, with
The effect the
Rooms over porches, it would have been really fine portrait such as the modest light all round.
well to state emphatically, were generally | Child with a Mass Book (123), by some Dutch spirits of this splendour of illumination
used in pre-Reformation days as chambers or French painter of the first half of the from sea and sky together has rarely been
for the watcher or deacon of the church. A seventeenth century. Thomas Parkinson's more delightfully rendered than in this
an emotion which
common secular use of the church porch, Portrait of a Gentleman (131) is another little drawing. It is
not mentioned here, but testified by in portrait which impresses us as much by its Rowlandson felt keenly, and his delight
numerable coroners' rolls and such like moral as by its material truthfulness. in landscape is shown in such works as
records,
was for holding inquests over In Zoffany's portrait of The Hon. Mr. The Meet (23); The Swan, Thames Ditton
corpses.
Hastings (100) the head is the least sensitive (79); the noble and serene Trinity College
We have only space for a brief comment part of the work: the figure is a wonderful Bridge (57), with its superb handling of
on the good chapter on ‘The Churchyard example of the art of filling clothes with line; and the inspiriting Return of Nelson
Yew. Had Mr. Johnson made a special well-constructed limbs by only the most (31), wherein the rejoicing crowd, the
study of old churchwardens' accounts, not a subtle and slight indications; the landscape fresh breeze, the swelling sails of the
few of which have been printed, he would have background is of great technical beauty, if not | victorious fleet, with dismasted prizes in
S
h
on
2
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## p. 346 (#268) ############################################

346
THE ATHENÆUM
No. 4404, March 23, 1912
was
rooms
more
tow, and the junketing of sailors and More frequently his work, which often re- L. F. Abbott, whole-length by W. Barnard,
women, make a delightful ensemble. sembles that of another sensitive, yet rarely printed in colours, 841. Blind Man's Buff,
The good-natured girl, again, in Grog on quite satisfying painter, Mr. J. S. Hill, suffers
after Morland, by W. Ward, open letter proof,
541. 128. What You Will ! by and after J. R.
Board (34) is a magnificent creation. from the overlaying of many impressions-
Smith, 501. 88. Hebe (Mrs. Musters),
after Rey.
The smirking_miss in the companion the lack of deliberation and self-control. nolds, by C. Hodges, coloured, 631. The Romps,
subject (38), Tea on Shore, is by com-
after Bigg, by W. Ward, printed in colours, 631.
parison dull enough. A Rowlandson
The work of the late Leandro Garrido is The Country Butcher, after Morland, by T. Gosse,
who is not amorous is inexplicable, so
the very opposite of that just considered. He printed in colours, 521. 108.
entirely does he respond, with a large did capably what he set out to do, which
The same auctioneers sold a collection of
impartiality which is of the essence of his a rather prosaic thing. He devoted
etchings on Tuesday, the 19th inst. By D. Y.
genius, to every appeal of sense.
himself particularly to recording with ex-
Cameron : The Doges' Palace, Venice, 1051. ;
treme solidarity the disintegrating, distorting St. Laumer, Blois, 941. Harfleur, 751. ; Craigievar,
effects of a smile upon the human counten- 841. ; Ca d'Oro (framed), 601. ; Ben Ledi (framed),
ance, forcing it, as a rule, beyond the 1891. Drypoints by Muirhead Bone : The Prison,
Ayr, 711. ; The Shot Tower, 681. ; Old and New
THE ROYAL SOCIETY OF BRITISH degree of elaboration up to which he was
Gaiety Theatres, 681. ; The Liberty Clock, 711. ;
able to preserve the delicacy of relationships Fisher's Creek, King's Lynn, 651.
ARTISTS.
suggestive of mobility. Some of his draw-
The standard of merit at Suffolk Street exhibition of his works at the St. George's
ings, a number of which are included in the
is higher among the water-colours than in Gallery, are less open to this reproach; and
the
devoted to oil paintings. the three selected to represent him at the
Fine Art Gossip.
The drawings of Mr. Arthur Ellis, Church Victoria and Albert Museum-Nos. 32, 36,
Interior (314) and Trees by the Roadside (297), and 50-are admirably chosen. No. 42
BOLDINI's portrait of the late Lady Colin
show a great improvement on his previous might have been added also, for its alert
Campbell has been presented by her exe-
work in the direction of more crisp and and momentary expressiveness.
cutors to, and accepted by, the Trustees of,
forcible execution and
confident
the National Gallery, where it is now hung
design. They are among the best works in At the Baillie Gallery is a collection of in a room devoted to the French Schools.
the show. Sunshine (320), by the same work of the late Paul Maitland, a follower
artist, is again brilliant in colour, and in- of Whistler, with kinship also with Mr. Elizabeth Stanhope Forbes, which occurred
WE regret to announce the death of Mrs.
genious in the way in which a composition Walter Greaves. Nos. 5, 15, and 16 are
made up almost entirely of rectilinear
ele good examples. The interiors painted by Cornwall. Mrs. Forbes had recently under
suddenly last Saturday evening at Newlyn,
ments is given variety and interest. It is Mrs. Delissa Joseph are not ill-studied as
shamefully ill-hung, in view of the standard
to lighting, but singularly careless in their gone an operation in London, and her health
of merit of the pictures beneath it. Mr. draughtsmanship. In No. 23 the attempt to
for some time past had given grave anxiety
to her friends. Born at Ottawa, Canada,
W. B. Thompson's two pastels (296 and 307) use two points of sight in the same canvas
are also pleasantly designed in clear tones produces the amusing illusion on the spec-
in 1859, Miss Elizabeth Armstrong attained
of colour; and Mr. w. T. M. Hawksworth's | tator that the suite of rooms are turning she married the eminent Academician, and
considerable distinction as a painter before
Poole Harbour (311) and the Quay, Rouen round, like a number of theatre " sets ” on
(318), have the merits we expect in his work. a revolving stage.
for many years past had been a regular
Mr. Douglas Fox-Pitt's drawing of the
exhibitor at the Academy and Paris Salon.
British Museum Reading Room (302) does
THE Tenth International Congress of His-
not do justice to its spaciousness. We also
torians of Art will be held at Rome from
note good work by Messrs. Cecil King (246),
PICTURES AND DRAWINGS.
October 16th to 21st. An influential local
L. W. Lang (340), and Mr. G. Birkbeck
Executive Committee has been formed,
(225).
MESSRS. CHRISTIE sold last Saturday the follow-
comprising Prof. A. Venturi, Prof. Haseboff,
W.
Among the oil paintings, Mr. Joseph Milton's . Ode to the Nativity,' a set of six, 3361.
ing. Drawings : Blake, Illustrations to
Prof. Hermanin, and Dr. Orbaan. The
Simpson's After the Ball (11) emerges from Lawrence, Portrait of a Lady, seated, with her subjects to be discussed will bear mainly
dull surroundings with a note of ringing hands folded on her knee, black and red chalk, upon the relations of Italian art to that of
colour. Like Mr. Fergusson, whose painting 2101.
other countries from early Christian to
we dealt with last week, he is inclined, Pictures : Millais, Mariana, a study, 5} in. by modern times, and sections will be formed
though in less degree than the latter, to lose 4 in. , 2311. . Morland, The Interior of a Stable, corresponding to the four periods into which
in pursuit of brilliant colour the continuity 4411.
with peasants playing cards, a horse and a dog, Italian art will be divided for the purposes
of the plastic design, on which a figure
of discussion. Offers to contribute papers
draughtsman may wisely set some value.
on Italian art in its international aspects,
His work is, nevertheless, the only figure ENGRAVINGS AND MEZZOTINTS. or on foreign artists connected with Italy,
painting of importance in the exhibition,
should be addressed-if possible, not later
MESSRS. CHRISTIE sold on Tuesday, the 12th
and such landscapes in oil as are worthy of inst. , a collection of engravings and mezzotint
than the end of March--to the Secretary,
note suffer somewhat from the same defects. portraits.
Signor Roberto Papini, 60, Via Fabio
Mr. Murray Smith's Canal Bridge (27) is The following were the property of the late Massimo, Rome. Notifications of member-
true in tone ; Mr. Hartley's Sky and Upland The Cottager's Merchandise, after Bigg, by T.
ship should be sent to the same address
(2) has a certain decorative pomp; and Mr.
The subscription is fixed at 25 lire (1l. ), and
F. Foottet’s Border Castle (19) is a better Bampiylde, after" Reynolds, whole-length by gentlemen can obtain additional tickets for
balanced and more structural design than is T. Watson, 1051.
Countess Cholmondeley and the ladies of their family at the cost of 10 lire
usual with him. Mr. A. H. Elphinstone's her Son, after Hoppner, by C. Turner, first state, each Substantial reductions in the cost
1621. 158.
After the Shower (46) recalls the manner of
The following were the property of Mr. R. O.
of travelling on the Italian railways are
his large picture in the last exhibition of the Smitb : Lord Sunderland and Lord Charles
offered to members. Mr. Campbell Dodgson,
Society, with slightly, more compactness ; Spencer, after Cosway, by W. Barney, open letter a member of the permanent committee for
and Mr. Lewis Fry's big picture of Three proof,
781. 158. After Reynolds : Warren the organization of these congresses, will be
Calves (79) is promising.
Hastings, by T. Watson, first state, with wide happy to answer any inquiries addressed to
margin, 991. 158. The Countess of Essex, by him at the British Museum.
J. McArdell, engraver's proof, 501, 88. Countess
of Carlisle, by J. Watson, second state, 681. 58. THE Société Nationale des Beaux-Arts is
Countess of Aylesford, by V. Green, second state, organizing an exhibition to be held at the
OTHER EXHIBITIONS.
841. Viscountess Crosbie, by W: Dickinson, Bagatelle, Paris, this spring, which will
711, 88.
AT Mr. van Wisselingh's Gallery the second state, 811. 188. Countess of Salisbury,
consist of paintings and sculpture repre-
landscapes and portraits of Mr. Frederick by the same, second state, 1471. Lady Bamp- senting 'The Dance 'at various epochs.
Yates seem to be the work of a man whose fylde, by T. Watson, second state, 731. 108.
MESSRS. MacLEHOSE & Sons have in
excessive sensitiveness to emotion somewhat The Affectionate Brothers, after Reynolds, by preparation a new edition of the Cata-
militates against his power of conveying F. Bartolozzi, printed in colours, 841. Lady | logue of the Etched Work of Mr. William
that emotion to others. His two larger snow
Catherine Pelham Clinton, after the same, by Strang. It will include reproductions of all
pictures (No. 11, Evening Snow Effect over
J. R. Smith, second state, 94. 10s. Domestic
his recent etchings to the present month;
Loughrigg, and No. 18, Snow at Rydal, 1908)
Happiness (Lady Anne Lambton and Family),
after Hoppner, by J. Young, printed in colours,
they now number more than 540. Mr.
are charming works most delicately wrought, 1521. 58. Miss Frances Woodley (Mrs. Banks), Strang is preparing an original etching
wherein the necessity of doing quickly after Romney, by J. Walker, first state, 6091.
specially for this Catalogue, and each
whatever was to be done from an essentially
Lady Rushout and Daughter, after A. Kauffman,
copy will contain as a frontispiece an im-
fugitive subject has given unity to the hiter
Cosway, by J. Condé, printed in colours, host: pression of this signed by the author. Only
picture. In a less degree the same might Nature (Lady Hamilton), after Romney, by J. R. a very small number of copies of the work
be claimed for the flower study; No. 47. Smith, second state, 861, 28. Lord Nelson, after will be for sale.


## p. 347 (#269) ############################################

No. 4404, MARCH 23, 1912
THE ATHENÆUM
347
--
ness.
Sux. Concert, 3, Royal Albert Hall.
Sunday League Concert, 7. Queen's Hall.
Mox. Godowsky's Pupils' Orchestral Concert, 3. Queen's Hall.
Josef Holbrooke's
English Chamber Concert, 3. Steinway Hall.
Julia Culp's Vocal Recital, 8. 15,
Bechstein Hall
Edward Mason Choir, 8. 15, Queen's Ball.
TUES. Godowsky's Pupils' Recital, 3, Bechstein Hall.
Susanne Morvay's Plapotorte Recital, 3. 15, Æolian Hall.
Gordon Granville's Vocal Recital, 8. 15, Æolian Hall.
WED. Classical Concert Society, 8. 15, Bechstein Hall.
Balfour Gardiner Concert, 8. 30, Queen's Hall.
Gertrude Lonsdale's Vocal Recital, 8. 45, Eolian Hall.
Titrs. Twelve o'Clocks'
Chamber Concert, Eolian Hall.
Herbert Fryer's Pianoforte Recital, 3. Æolian Hall.
Brondwood's Chamber Concert, 8. 30, Æolian Hall,
Theodore Byard's Song Kecital, 8. 45, Bechstein Ball.
Miss E. A. Chamberlayne's Concert, 3, Xolian Hall.
-
FRI.
cause
Bar.
Société des Concerts Français, 8. 80, Bechstein Hall.
Alexander Raab's Pianoforte Recital, 3, Rollan Han.
Norman Wilks's Pianoforte Recital, 3, Bechstein Hall.
New Symphony Orchestra, 3. 18, Queen's Hall
set
lasting
instrumental numbers were concerned, was kaleidoscopic shifting of atmosphere.
Musical Gossip
probably now to many of those present. Where Euripides is upon the high pinnacle
The performers were Miss Pertz herself of romance and that is often—there
Last Monday evening Herr Fritz Stein. (who played the harpsichord pieces on the
bach was conductor at the concert of the pianoforte),
Miss Mary Carmichael, and Mr. generally he is most realistic. The scene
Frederick Keel.
of the recognition between brother and
London Symphony Orchestra at Queen's
sister--the most profound and effective
Hall. He has n equal as an interpreter Dr. A. L. PEACE, the city organist of
of Brahms; but, fine as was the
rendering Liverpool
, died last week at the age of 67. part of the play—is a vindication of the
of the Fourth Symphony under
his direction, A native of Huddersfield, he spent the larger inevitability of his instinct and inspiration
he could not, to our thinking, disguise the part of his professional career in Glasgow,
fact that there is less inspiration in it than where, from 1879 to 1897, he was organist so piteous, their emotions so poignant
in the composer's first two symphonies of the Cathedral. He exercised a powerful and universal, that the accessories which
The performance of Beethoven's Leonore and beneficial influence on Scottish church have gathered round them are burnt away
Overture, No. 3, which stood at the head music, particularly on the side of the organ, in the flame of dramatic realization.
of the programme, was magnificent, but it and this was officially recognized by his
ought to have been placed at the end. being appointed musical editor of
But this, surely, is the only portion of
After Beethoven at his strongest, Brahms Scottish Hymnal. ' It was for that work the play, except for accidental vignettes,
does not appear to best advantage. Herr that he wrote his popular tune to Dr. where the characters are vividly indi-
Busch, a young and talented violinist, Matheson's hymn, Love, that wilt vidualized, powerful of themselves, and
played Brahms's Violin Concerto with not let me go. " Dr. Peace was appointed of the very stuff of romantic drama.
technical skill and good feeling, though he Mr. W. T. Best's successor at Liverpool after Before and after they are different. The
showed restraint, due evidently to nervous- an open competition at the Royal Albert appearance of the wave-worn travellers
Hall.
Pylades and Orestes on the savage island
M. GODOWSKY's recital at Bechstein Hall,
of the Tauri is romantic enough, and
on Tuesday afternoon, opened with Beet-
PERFORMANCES NEXT WEEK.
would have proved malleable matter for
hoven's ' Appassionata,' performed with con.
the Elizabethans had these two figures
summate skill: the technique was flawless,
but the interpretation lacked warmth. At
been humanized, as doubtless Euripides
the end of his programme came two Chopin
intended. But they are not; they are
studies transcribed for left hand, and com-
epic. Orestes stands forth, the forlorn
bined studies arranged for both hands.
inheritor of the crimes and sorrows of
The cleverness of such transcriptions we
the House of Atreus ; no man, but the
admit, also the perfect rendering of them,
embodiment of a tragic story. Suddenly,
for enormous difficulties were overcome, and
as in a transformation scene, he becomes
apparently without effort. But, after all,
such feats merely
astonishment. The Misses Butro's Recital for Two Pianofortes, s, Stein way the man, and his sister, heart-sick, like
They were followed by two genuine Chopin
Bach Choir, 7. 45, Westminster Abbey
Ruth amid the alien corn, a woman.
pieces, namely, the Barcarolle and
It would have been well had Euripides
sharp minor Scherzo, and the player's
left his play at its climax of human
own Walzermasken, 24 Tonfantasien im
intensity, and not trailed it along to an
Dreivierteltakt,' the whole
almost farcical and ignominious close.
about an hour, during which some pleasant
moments were experienced.
DRAMA
The tale of the ingenuity of Iphigenia's
plot, of the duping of the ridiculous
THE programme of Signor Busoni's piano.
Thoas, and the escape to Argos, tumbles
forte recital at Queen's Hall last Thursday
us headlong into something like comedy.
week included two sonatas - Beethoven in
Nor can the felicitous appearance of the
IPHIGENIA “IN TAURIS'
B flat, Op. 106, and Liszt in B minor. The
first, owing to its length and, especially in the
dea ex machina, the surge-swept harmonies
AT THE KINGSWAY.
Finale, technical difficulties, is rarely heard.
of the choruses, the association with reli-
There are many pianists who can cope with CONSIDERING what obstacles in the method gious symbolism, and the strivings of the
the latter ; few, however, can interpret it of interpreting the “Iphigenia' con-
Greek romanticist and the still more
with the power and daring exhibited by fronted Mr. Granville Barker, it would romantic modern author, dissipate this
represent Beethoven at his greatest, but the be niggardly to grudge him the meed of cataclysmic impression. Mr. Barker at-
Fugue, like the one in B flat for string quartet, praise for the acuteness of his stagecraft tempted in vain to stem the rout by his
is the failure of a genius. If the music and the indefatigable industry he has
sure taste and skilful devices, but the
is at times dry, it is most interesting to see lavished on it. The play itself possesses mouthings and rodomontade of King
how the composer forgot, or tried to forget,
the limitations of the instrument, as he did
no prolific furniture of ideas, either in Thoas only hastened it.
The producer had, indeed, an almost
those of voices in his Choral Symphony. the mythological elements of which it is
In Liszt's Sonata Signor Busoni had a more composed or in its final mould when it had insoluble problem before him. When we
congenial task, and his rendering of it was passed through the lively mind of Euripides. bear in mind the spacious and cumulative
in every respect masterly.
Though clear in action and psychology, effects of drama, he chose, perhaps, the
MR. LAMOND, who gave a recital at Bech it has curiously blended effects of atmo- only feasible way, though in fashioning
stein Hall on the following Saturday after sphere. Prof. Murray and Mr. Barker, the woof he has omitted some of the
noon, was in fine form.
His rendering of whose conception of the play appeared finer threads. The play reveals the last
Beethoven's Sonata in E flat, Op. 31, No. 3, symmetrical, treated it on the broad
milestone in the destinies of the toiling
was delightfully clear and crisp. There has plane of romance. Orestes and Pylades House of Atreus, and something of that
recently been a run on the later sonatas, so Prof. Murray calls“ héros de roman. "
weariness communicated to the
that the change was welcome: Mr. Lamond His rendering is throughout, as he intended
dramatist.
particularly successful in the 'Erlkönig it to be, lyrical and romantic, and Mr. Miss Lillah McCarthy as Iphigenia
transcription.
Barker triumphantly asserted in the actu- seemed to us a trifle overtrained, but the
A SERIES of three Historical Matinées ality of stage production the emphatic pur- only person to realize the epic proportions
of Old Music have been given by Miss pose of the translator. The colouring was of the play. Her discipline was superb.
Florence Pertz at Marble Arch House, w. in that vein : the red of the temple, the Mr. Godfrey Tearle's Orestes was conceived
The first, on March 11th, was devoted to robes of the high-priestess ; the barbaric on
a lavish and splendid scale. He
Old English Music ; the second, March 16th, accoutrements of King Thoas; the wind showed daring aplomb and a compelling
to Old Italian ; and the third, March 21st
, ings, postures, and groupings of the emotion. He should one day make a great
At each Miss Pertz gave chorus; sound, movement, and light and actor. The other parts were competently
An introductory lecture referring to the shade, all combined to that effect. Now achieved. The chorus both sang and
period and the composers illustrated in
the programme. They were short and clear, it is dubious whether the 'Iphigenia' can acted their words, in many particulars
and enabled the audience to understand and be interpreted in its entirety after this closely adapting themselves to the Rein-
enjoy better the music, which, as far as the fashion. For there is discernible in it a hardt model.
6
was


## p. 348 (#270) ############################################

348
No.