decay and the new Italian ideas were beginning to develop. The plot was thickly decorated with local color, applied after careful historical research. The psychological treatment of the characters was much praised by critics.

In England the most important new drama was undoubtedly Arthur Wing Pinero's "Iris." Concerning "Iris" there was a difference of opinion. Some heralded it as a stern lesson to "the writers of sentimental novels and gallery-truckling dramas "; praised its keen insight, its remorseless fire, its mordant insistence on the results of weakness and self-indulgence in a woman. It is a question, however, whether the weakness of the central figure, Iris, was not fatal to the sense of tragedy that the author intended to convey. The play interested rather than moved the observer. One saw a luxurious woman, facing the old dramatic problem of choice between good and evil, but choosing evil for no motive worthier than her desire not to be penniless. Iris had not the strongly marked character of Paula Tanqueray or Agnes Ebbsmith. Her fate aroused pity and disgust, not sympathy. The play, as might have been expected from Mr. Pinero's preceding work, showed admirable constructive skill.

It is hardly necessary to recount the failures or unnoteworthy successes of the English dramatic season. Sir Henry Irving made a fine production of "Coriolanus," but was only moderately successful. He dared something in assuming a part which tradition has assigned to a declamatory actor-something which he was not. The distinction and dignity of his personality, however, enabled him to give the necessary impression of nobility-to stamp Coriolanus as a great, if unimaginative and inflexible, soul. When the run of "Coriolanus was over Sir Henry produced in succession a number of plays from his well-known repertory. Mrs. Patrick Campbell gave Björnson's "Beyond Human Power," a grim drama of considerable strength, though hardly likely to interest the general public. There were many revivals by the bestknown actors revivals of old and of comparatively new plays—which served to emphasize the paucity of the season's output.

V

The dramatic year in the United States brought out few plays that are worth recording. Julia Marlowe's characterization of Mary Tudor in "When Knighthood was in Flower" charmed large audiences with

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the art that can ride smoothly in a clumsy vehicle. There were several plays of more or less serious value that had held over from the preceding fall-such as Clyde Fitch's "Climbers." E. H. Sothern gave Laurence Irving's "Richard Lovelace," a fine romance with a tragic ending. The actor's impersonation of the name part was very generally commended. Then there were such plays as J. M. Barrie's comedy, "Quality Street," with Maud Adams in the leading rôle; and the dramatization of Booth Tarkington's story "Monsieur Beaucaire" into an attractive little comedy of manners, with Richard Mansfield as the debonair and much-maligned prince. Nat Goodwin, the well-known comedian, essayed to play "Shylock" to the "Portia" of his wife, Maxine Elliott, but his success was not very great. For the rest there were productions of foreign plays and the welcome visits of several foreign "stars."

It was a pleasure to note the unexpected success of two literary plays-Browning's "In a Balcony" and Yeats's "The Land of the Heart's Desire "-which were given together under the direction of Sarah Cowell Le Moyne, with whom the project originated. Mrs. Le Moyne played the "Queen" in " In a Balcony " to the "Constance" of Eleanor Robson and the "Norbert" of Otis Skinner-an exceptional

Also of earnest import was the opening of the Manhattan Theatre, at New York, in September-" Mrs. Fiske's Theatre." Minnie. Maddern Fiske, eminent in her art, stood for a serious drama, freed from the baser elements of commercialism which had crept into the management of the American stage. She was outside of the "ring"; an aggressive enemy to the "syndicate." Her opening play "Miranda of the Balcony," aroused no enthusiasm, nor did "The Unwelcome Mrs. Hatch," which she put on later in the fall; but her effort at independent management was quite generally supported by the critics and the public.

VI

The "Syndicate," a group of influential managers who operated a kind of theatrical "trust," became so self-confident that in the autumn of 1901 it strove to force out of employment one of the best-known dramatic critics of New York-Norman Hapgood. The syndicate demanded the discharge of Mr. Hapgood from the staff of the Commercial Advertiser, because he had criticized the syndicate and had given unfavorable opinions of so many of its productions. The paper re

fused to discharge its critic, whereupon all syndicate advertising was withdrawn from the pages of the Commercial Advertiser. Ultimately the syndicate abandoned its position and restored its advertising patronage, despite Mr. Hapgood's retention as critic. This was not the first time that the syndicate had attempted this method of earning favorable notices. It had driven two critics-one in Washington, one in Pittsburg-out of employment.

CHAPTER VIII

ART AND MUSIC

In looking about for the year's best showing in art it is inevitable that the observer should turn first to France. And current French art, which includes the work of artists from many countries, is summed up in the annual Salons, the Old and the New.

The Salon of French artists, or the old Salon, commonly called that of the Champs Elysées, was formally opened, on April 29, by M. Loubet, the President of the French Republic. In the exhibit were 2,092 oil paintings, nine hundred pastels and water-colors, and 667 works of sculpture. The number of painters represented was 1,438. There were 324 foreign exhibitors, including 108 Americans. Several of the leading French artists expressed the opinion that the American pictures showed a higher average of excellence than ever before. The most severe of Parisian art critics, Theobault Sisson, explained as follows what he considered the worst fault of the Americans: "They are too easily satisfied with brilliant surface qualities; they are prone to imitate mannerisms of French masters, and in certain instances they lack thoroughness and sincerity."

The general quality of the pictures shown in the salon of 1901 was considered unusually good. The most talked-of canvases were Benjamin Constant's two portraits-one of Pope Leo XIII., the other of Queen Alexandra; Joseph Bail's large picture, "Les Repas des Servantes"; Bonnat's likeness of President Loubet; excellent portraits by Henner, Humbert, Lauth, Lazio, Leon Comerre, Gabriel Ferrier, Aimé Morot, Honore Umbricht, Saintpierre, and Richard Hall. Of distinctively American painters the pictures by George Howland, Miss Dickson, George Hitchcock, Mrs. Huntley, and Edwin Lord Weeks were commended. Mr. Weeks's "Ispahan," a large study of a Persian mosque, with colored tiles reflected in a pool of water, was said by one

critic to be the best piece of work Mr. Weeks had ever done. George Hitchcock's "Sappho " showed a white draped figure standing on a green cliff, above the sea. George Howland's "Portrait of a Lady was a subtle combination of delicacy and vigor, worked out in mellow tones. The most admired piece of sculpture was Gérome's bronze equestrian statue of Washington, over-elaborated in detail, perhaps, yet very effective. Gérome had put the great commander in an attitude highly indicative of calm decision. Washington, in full uniform, had his right arm extended at full length, with the palm of the hand down.

The Salon of the National Society of Fine Arts, popularly known as the New Salon, was opened by President Loubet on April 20. The exhibits occupied the entire west wing of the Grand Palace. The pictures shown in 1901 were of a higher standard of excellence than had been attained in the New Salon since the National Society seceded from the Society of French Artists in 1890. There were in the galleries some two thousand works of art, 932 being oil paintings, executed by 404 different artists. Twenty-five Americans were represented.

A picture which created a sensation was Jean Beraud's “ Hic Flagellavit," a canvas less than three feet square, but so harrowing, so nearly sacrilegious, that the eye could not overlook it. The representation was of Christ, clad in a flowing robe of scarlet, confronted by a crowd of twentieth-century persecutors. A workman in corduroys was tightening a rope around the Sufferer's waist. A butcher with clasp-knife and steel hanging at his side was preparing to deliver a murderous stroke. A stock-broker, a Free Mason, a harlot, and a threatening throng of others entered into the composition. The poses were expressive of contempt, derision, anger, hatred. Among the American pictures Edwin A. Abbey's panel, "The Maidens and the Red Knight,” one of the Grail series painted for the Boston Public Library, deserved first mention. Three American women exhibited excellent workMrs. Lucy Lee Robbins a portrait of a girl in white, Miss Elizabeth Nourse four pictures with fine qualities of design and color, and Miss Florence Este some charming landscapes.

In the sculpture department was to be seen Rodin's statue of Victor Hugo, a superb reclining figure. A strong piece was St. Marceau's unfinished statue of Alphonse Daudet,