In the Realms of Music and ArtExample of English Musician's ,

Abjnration of His Nationalism-:-.- a

The General Tendencies of the Revolutionaries;Racialism in Modern Composition;

Scottish Melody DisguisedBy H. E Krehbieî

ft wag with great interest, not tan«mixed with surprise, that I road a

fortnight ago in The Tribune an ex¬

cerpt tram an article written by an

English musical critic, in which it was

contended that cosmopolitanism was

disappearing from tnusio undet- thevigorous assaults of nationalism. Be¬fore reading the article I had writtenone (which appeared on August 6), Inwhich I maintained that one of theresults of the war, if it was that andact merely the continuation of a ten¬dency which had set in some timebefore, was tho merging of styles,which had now become so confusedthat the names of schools had losttheir meaning. This confusion, I in¬dicated, had nothing to do with themore or less intense devotion showedby the English, French, Italian, Ger¬man and American peoples to the crealions of their own composers. Thouniversal tendency was to be, perhaps,individual, assuredly "different," thatwas all. I could find nothing in thejx.usic of national groups which Iwu_ willing to call national. "Every¬where among the wotild-be "progres-BÍves' there Is manifest a desire to bedifferent from the old-fashioned com¬

poser, who in each of the elementswhich enter into music.melody, har¬mony, rhythm and form.sought topresent orderliness, symmetry and re-

posefulness to the mind and pleasur¬able sensations to the ear and emo¬

tions. Essentially they ara all alike;

primordial, primeval slime and pro¬claim itself in grunts end squeals,clanking... and tinklinga, ligneousthumping*, whistling harmonica in allConceivable pitches, separately or »i-multaneously, from every instrumentin the band.Mr. Newman thinks that the limits

of what the revolutionaries of to-dayare pleased to call harmony (meaningthe simultaneous sounding of any or as

many tones as the author chooses toemploy) have been reached; that notmuch is to be looked forward to in theform of rhythms, and joyously pro¬claims the notion (not without a twin¬kle in his eye and a suspicions pro¬trusion of his check we suspect) thatthe next resort of the composer whowould reflect the spirit of the agemust be to speed; and he recalls theexhilarating effect of some of Ros¬sini's music. It is^,« pretty thoughtfor an idle moment, but no one kn-ow»better than Mr. Newman of how littleexpansion the element of speed allow«,and how essential to its efficacy Isnnion with melodic idea and symmet¬rical structure. This, however, is notto our purpose.Nationalism (or rather racialism,

wnich is the more correct expressions)finds its expression in melodies whichare primarily Its voice and harmonieswhich help to reflect the moods of peo¬ples. Some «of the British composerswho have pressed forward most eager¬ly for recognition fcave reverted to the

A Specimen of Modern Harmony

**cbooU' based on popular Idioms of,melody and rhythm have gone by theboard. Yet the result is not unity,but multiplicity and chaos."That was my contention in a nut¬

shell. Mr. Ernest Newman, I observe,»cems to have come to a somewhatsimilar conclusion. He renews, in arecent essay, the old observation thatcomposers no longer invent melodiesor themes, but make "motifs," the re¬iteration of which is supposed to suf¬fice us in place of development. Now,in the masters, who are still supreme,development disclosed itself in thesymmetrical, logical and beautiful ex¬pansion or exfoliation of the germscontained In the melodic theme, andin this wo find much greater inventive¬ness (which is also the capacity tocreate) than in arbitrary repetition ofa compares of tones, uninteresting inthemselves. In such repetition orches¬tral color is little he)pful and the de-Vices employed are already becomingstereotyped and monotonous. We nev¬er hear a rumbling in tfce deep bassesand the tremulous booming of a songbut we know that in a moment a "mo¬tif" will wriggle upward, like s prl-__a«ry organism out of protoplasmic,

MUSICAL~ÏNSTRUCTIONill" I?! imtitntt of

$tuötcal $rtIte Clarranim. At«.. c«*«mcr IJ.nd 9*.FRANK DAMROSCK, DirectorConducted only lor students ot realmusical ability and serious purges*.Send for catalog. Entrance e__*__i_n.ations, Oct. 2nd Vt 7th.

PREPARATORY CENTERStn all iia.'.i. of Greater N**jr Tort indirect conneotlon with _.*.<*_ ^lnHter thesupervision of the Institute. 8e_i_>t,ferseparate circular. "Sa

The National Conservatoryof Music of America

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chartered by CongregaThirty-eighth year, opens October 2d

Bnrollm._t begins Sept. 28th.Address See.. 126 W. ?_*tli St.. New Toä City.

_¦_...¦ .¦_,._i

karoldEISENBERGAuthor of

"The Art and Science of Violin-Playing"HIGHLY KN3>OKSEI. BY A.T..I-.KS.-__8I.-f_.. K..MAN. SAMETINI,»AMROSCH, SCHMt.I.IaER, S_C__-E__,rBANKO AND MANY OTHERS.Fer Teaching Appointment, Address

Harold _5isen____**f, P. O. Box 44, St». ».,New Vori. City. Toi. Interval» 218..

NEW YORK COLLEGEOF MUSIC

114-116 _-._Nt S..th Straa*High Class Instructors

in all Branches of MusiaTérros Modera.«

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system absolute beginners play tunesperfectly by not*. Famous Gibson In¬struments loaned free. Open evenings.

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method» by which England becamemusically great in the Elizabethanperiod, in one respect, bat negativedtheir efforts by ignoring the fact thatthe harmonies which profusely accom¬pany folk melodies (or any melodyworthy of the name) are latent in themelodies themselves. It would appearto he a foolishness to tho revolutionaryof to-day, but it Is not long sine« itwas sound science and unimpeachable.esthetics to say that melody is har-mony analyzed, harmony melody syn-thetized. Sound or not, I entered thewords in a book nearljr thirty yearsago, and the ancient reviewers foundno fault with them. Of course, theywould excite the derision of tha har¬monists of to-day who maintain that

I any imaginable grouping of tonessounded simultaneously Is a chord ifthey say that they conceive it to beone.

It is this attitude of composers andthe belief, to which the naturally un¬musical are most willing to subscribe,that the expressive power of musichas been extended into provinces withwhich it has nothing to do (or as littleas painting has with mathematics)which has made the discussion of mu¬sical aesthetics with composers diffi¬cult. The critic has no polite answerfor the composer who makes uglysounds and says that they are beauti¬ful because they are true to the feel¬ings which ha says they express. HeIs more helpless than the .critic ofpainting in the presence of the Im¬pressionist who tells him that theimage which he has painted with bluepigments is that of a red houfta becausethat is the way it presents Itself to hiseye, fancy or emotion.

All this is but a prologue designedtío introduce eight measures of musicwhich came to me recently from a

MUSICAL INSTIWCTÍOÑ"

_2S Peifield!t§r«.Hi .V. «SU. St. rhema Bryan. 7SS3

BOARDINGsad

»AY SCÄOO»¦for Bine.-». DlrecUrm of CHARLOTTE ST. .OH*ELLIOT. 30- W. OTH ST. Tel. Sctraylw H-fc

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American Instituts of Applied Music«ft V.. ..tfc St. 34th Sestet B_flat O.tob*. (,

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FLUTIST BOLOAN!»

OBLIGAT©«n . 'i?..-?18 *. *"KITZ__With FRIEDA HEMPELHi fifSM Av»., Srseklys. M. y. ft!. C.»..«_ 3It?

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s'o- WOODWARD J«?****» »f vsi»s 4«EY WUUUW/UU' Pisas. 3M ... IJitfc

Returning to Concert Stage Next Season

Ignace Jan Padcrewaki

friend in England who, though he hasbeen long enough and activo and use¬ful enough to have been madeKnight, is fresh in the admiringmemories of the American concert-goers of thirty years ago: Sir George jHenschel. If Sir George had not writ¬ten to me in vigorous denunciation ofsome of the things which British com¬

posers are doing in the name of nation¬alism, we should nevertheless haveknown his attitude from the fact thatbis most recent published compositionis a church service piece for eightvoices or a eapella which, no doubtsounds as beautiful and uplifting, as itlooks on the printed page. I have notbeen told who wrote the eight meas¬ures > it might be Goosscns, or it mightbe Cyril Scott.Th» point is that though the com¬

poser professes to be providing anaccompaniment to a melody song, heia in fact obßcurlng lt. The tune isthat of the old Scottish folk-sorig,"Behave Yourself"; the harmony lookedto a Boston composer, to whom SirGeorgo first sent the specimen, "as ifit had come out of an asylum for thefeeble-minded"; but he frankly added,"the trouble Is that these fellows arcso infernally clever." Clever they are,no doubt, but too often they seem eagerto sacrifice beauty, coherency and everyother artistic virtue to their cleverness.In this case I doubt if the composerlooked at the melody at all. He seemsonly to have been experimenting withan erratic descending scale in theupper voice. So far as the chords andthe time oS "Behave Yourself" areconcerned it may be said, as one ofShakespear's merry wives says to thaother concerning the protestations ofJack Falstaff, "They do no more ad¬here and keep place together than theHundredth Psalm to the time of 'GreenSleeves'."

Goldman Band Back on GreenTo Play Five Times WeeklyEdwin Franko Goldman brings hisband back to the Columbia Green aftera week's absence on to-morrow eve¬ning, giving five concerts, Monday toFriday, during this week and two thefollowing. The week's programs are:

MONDATMarche Lorraine . GanneOverture, "Maximilian Robespierre."LltolffGavotte.,..,, Grief.Fantasie, "The Valkyrie"., .WagnerValse, "Star of the Evening"... .GoldmanA Bit of Syncopation.....GoldmanPassing By.PureeliOpen Thy Blue Byes.MassenetLof.ta Madden, sopranoWaltz, "Wine, Woman and Song". .StraussReminiscence» of Scotlsipd.GodfreyTUESDAY.-RUSSIAN PROGRAM..ledding, March from "Feraraora."

RubinsteinOverture Solennelle "1912". .TschalkowskyVolg-a. Boatmen's Song. . .Russian folksongAlbum Leaf.TaehalkowakyPrelude -.RachmaninoffTwo Excerpts from the "Pathetque"symphony .TschaikowskyMarche Slav .TschaikowskyHebrew Love Sons.,Rimsky-KorsakoffErnest S. Williams, cornetistA Sing,' of'I'.idia, from "Sadko."Rtnisky-Ivr.rsakoffCortege du Serara from "CaucasianSketches".IvanowWEDNESDAY.ITALIAN PROGRAMTriumphal March from "Cleopatra."

ManeinelliOverture, "William Tell".RossiniIntermezzo from "Caval'eria Rusti¬cana".Maseagn!Minuet .BocchoriniExcerpts from "Alda".VerdiExcerpts from "Madame Butterfly".PucciniInflarnmatuH from ''Stabat Mater'"..RossiniErnest S. Williams, .ornetli.tBell Chorus from "Pagliacci".. LeoncavalloMiserere from "II Trovatore".VerdiDance of tha Hours, from "La Gio¬conda".PonchlelliTHURSDAY.COMTC OPERA PROGRAMMarch of the Peers, from "loianthe."Sullivan

MUSICCABINETSjTor those who car«I I /.o keep their sheetL-- music orderly. Nosearching through amass to find thepiece you want. "Aplace /or enerapiece." Send forCatalog 17 or call at our newsalesroom.

TJM-AM- CABIXKT CO.In» West ¿mh Strtxit

Overture, "Beantlful 0*lathea".Von SuppeEntr'act from "Mile. Modista".HerbertOriental Dane« from "Wonderland."

HerbertExcerpts from "The Mikado".,.. .SullivanExcerpts from ''Blossom Time".. .RombergExcerpts from "Die Fledermaus" .StraussWaltz from "The Merry Widow". .. .LeharExcerpts from "Pinafore".Sullivan

FRIDAT.FRENCH PROGRAMMarch Sambro et Meuse.TurletOvertur«, "Mignon" .ThomasThe Swan.Saint-SaensExcerpts from "Faust".GounodOverture, "Masanlello".AuberBerceuse' .GounodMeditation from "Thais".MassenotExcerpt from "The Grand Duchess."

OffenbachFive "request" programs will occupy

the last week, ending Friday, Septem¬ber 8. It is announced that, owing totha size of this season's audiences, a

longer series of concerts ia beingplanned for next summer.

« '.

High Standard inPrograms of PastStadium Season

The rising standard of the mustyplayed at the Stadium concerts lishown în a classified lij. of some o.

the principal work» given during th«season just ended, prepared by Law¬rence Gilman, who wrota the note!for the various programs. As a preface to his record Mr, Gilman remarks:"The heightened artistic standard o

the Stadium programs this season

which have met with so remarkable i

response from the audiences, la indicated by the fact that Beethoven w_'playen more often than Bizet, Debuss;more often than Delibes, Bach moroften than Bocchcrini, Richard Strausmore often than Johann Strauss."

SYMPHONIESNo. 8 ("lSro.ca"); No. 6; No. 7..BesthoveNo. 1......Brahm''New World".DvoraD minor. Cesar Franc'.Rustió Wedding" (three movements)

GoldmarNo. 4, No. 6. No. i ("Pathétique").TschalkowsV

SYMPHONIO POEMS, ETC.."The Sorcerer's Apprentice".Duki"Fetes" .Debus!"Afternoon of a.JTaun"...DebuB*"Lea Preludes"; "Matteppa"'} NTasso"

Llr"Finlandia"; "Tha Swan of Tuonela"SlbelH"Don Juan"; "Death and Transfigura¬tion"; "Till Eulenspiegel"; love

scene from "Feuersnot"; serenad«for wind instruments.Richard Strau''Danse Macabre"; "Phaeton" .8alnt-Sae"Francisca da Rimini"; "Romeo' andJuliet" ....,..Tsohalkowsl

OVERTURES, PRELUDES, ETC.Air from suite No. 3 (for strings).prelude, chórala and fugue.. ,Ba<"Egmont" overture; "Coriolanus" over¬ture; "Leonora" No. 3 overture.

Beetho"Roman Carnival" overture} "Benve-nuto Cellini" overture.Berll"Harnival" overture. Dvor"Sakuntala" overture .Goldma"Le Roi d'Yh" overture.La"Phèdre" overture..Massen"Calm Sea and Prosperous Voyage"overture; "Midsummer Night'sDream" overture: "Ruy Blas" over¬ture; "Fingal's Cavo" overture.Mondelsso'"Marriage of Figaro" overture.Mozn"Bartered Brida" overture...Smeta"3.-12".'....Tschalkows"Oberon"; "Freischütz"; Euryanthe."

WetSUITES

"L'Arlesienne," Nos. 1 and 3.Bis"Impressions of Italy".Charpentt"Peer ~Gynt" No. 1.Gri"Caucasian Sketches" . .Ippolltoft-Ivan"Scheherazade": ''Tale of Tsar Saîtan"(two movements) .. .Rimsky-KorsakCONCERTOS

G minor for violin.BruK flat for piano.HiD minor for piano..MacDowD major for vioiin.TschalkowsConcerto for horn, Op. 11.R. StraiPiano concerto (one movement).GrlAMERICAN WORKS

"Egyptian Sketches".Joseph C. Br"Jubilee" .Georgo W. Chadwl"Aurora"......H. N. DunhiOverture on negro themes. .James P. Du"Indian Sketches".Henry F. Glib"Pierrot arui Pierette"* "Autumn Twi¬light"; "Wood Pixies"; "Salome";"Lucifer"; "Silhouettes"; "Inter¬mezzo": "Dance of Desert Girls'-';"In Bohemia"; "Stadium March."Henry Had"Irish Rhapsody".Victor Herb"Northern Rhapsody"; ''Dance of theJanizaries" .Lucius Hosn"Southern Fantasy".W. H. Humist"Concert Waltz," "In Strauss'« Time."

Allen L. Lang"Indian Sulta"; A minor suite; pianocon-crto No. 2; "Clsl * de Lune."Edward MacDos"Barchetta"; "Country Dance."

Eth.lbert Ne"In Old Virginia".John Po*_"Two Indian Dances".. .Charles S. 8kll"A Siren Song".Deems Tay"Etchings"l.Winner WaAmong the Wagner numbers Î

Gilman cites Tristan*« Vision frthe Third Act of "Tristan und Isoleand the Magic Garden Scene from 1II of "Parsifal" at excorpto infquently het>r*i outBide tho opera boi

Philharmonic WillOpen Opera HouseSeries Earlier

The Philharmonic Society will giveIts fieries of twelve concerts at theMetropolitan Opera Houso on eightTuesday evenings and four afternoonsnext season, instead of on ten Tue.-dnya and two Sundays. Tho scries is

to begin earlier than before, with thefirst concert on Tuesday evening, No¬vember 14,«conducted by Mr. Stransky,who did not direct any of these Metro¬

politan concerts last season. WillemMongelberg will direct the Philh.jr-monic here during the latter half oíthe season, as well as at Carnegie Halland tho Brooklyn Academy of Music.

Soloists who will appear with thePhilharmonic Orchestra at the Metro¬politan Opera Houso concerts duringthe season are Arthur Rubinstein,Toscha Seidel, Alexander Sîloti, Jac¬ques Thibaud, Arthur Schnabel, HansKindler and Josef Lhevinne. Tho Tues¬day evening concerts will take place onNovember 14 and 28, January 9, 10 and30; February 13 and 27, and March 27;and the four Sunday afternoons willfall on December 17 and 21, March ISand April 8.Mr. Stransky returns from Europe

early in October to begin rehearsals,and will lead the first concert of theseason at Carnegie Hall, on Thursdayevening, October 2(1. New members ofthe orchestra will include Henri Wol-sky, first violin; Samuel Kuskln, Jo¬seph Urdang, Emil Grelnert and CharlesVinicky, second violins; Oswald Maz-zucehi, Otto Van Koppenhagen andVictor I.ubalin, cellos, and JacquesKlass, fourth trumpet.

Seats for all Philharmonic concertsfor the season may be procured at thePhilharmonic offices, Suite 721, FükBuilding, Fifty-seventh Street andBroadway.

The twentieth anniversary season of'the Russian Symphony Orchestra willbegin under the leadership of ModesteAltschuï.r, on Monday, September 25,at Charlotte, N. C, to give dally con¬certs for two weeks at the music fes¬tival held in connection with the Caro¬linas exposition. After this, tho or¬chestra will visit the leading stateuniversities and colleges of the South.-.-

Van Ouwater'a MadonnaInteresting Early Dutch Work

Purchased by MuseumThe little "Madonna and Child"

painting by Van Ouwater, the earlyDutch artist, which the MetropolitanMuseum has Just placed on its walls,is an example of a certain trait in thepainter which was generally typical ofDutch painters of the period. Thiswas the matter-of-fact determinationto draw types from contemporary liferather than from foreign picture« orfrom preconceived ideals of beauty or

expression, says the August bulletin,which contains? a treatise on this newlyacquired work.

It is not a thing of beauty as re¬

gards tho personal characteristics ofthe mother and child. Apparently theartist had no ambition to idealize init. Rather, he seems to have chosento interpret quite literally the feat¬ures of models which he possiblyfound in the JJfe about him. The eyesof the mother are heavy and «ratherpredominant, while the child, a droll-faced little creature, Is amusingly hu¬man.Two other well known examples of

Van Ouwater, called to mind in con¬nection with thiä picture, are the"Raising of Lazarus," which came tolight only in recent years In the pos¬session of a Genoese family and sincehas been aoquired by the KaiserFriedrich Museum in Berlin. It hadbeen stolen from Haarlem in 1573 bythe Spaniards. An altarpîece, whichhas now disappeared? formerly repre¬sented this painter in the great churchin Haarlem. It was called the Romanaltarpiece because St had been erectedby pilgrims on their return fromRome. ,

~~

The present Madonna has beenascribed to Van Ouwater on the basisof its similarity to tho Lazarus in theBerlin museum by Sir Martin Con-way, though the other's colors aresomewhat cold and dry, while in thisthey are rich crimsons and golden-browns.

Giraffes

(From thi painting by Robert W. Chantey purchased for theLuxembourg)

Current Observation»About Art and Artists

The purchase of Robert Win*throp Chanler's decorative painting"Giraffes," by the Luxembourg Mu¬seum, Paria, which was announced a

few days ago, is a valuable tribute noionly to Mr. Chanler's artistic abilitybut to American art as well. TheLuxembourg has acquired a goodlynumber of American paintings in thepa.*t for itp gallery of foreign painters,and therti are several outstandingwork» that cannot but serve to impresaother peoples with tho mature growthof our native art. Among these, ofcourse, are Whistler's "Mother" andWinalow Homer's picture of tho twogiila dancing on an open piazza withthe sea for u background, not to men¬

tion Sargent's "Carmencita" and othersalmost equally admired. Besides theexamples by Americans hanging in thisgallery, there are perhaps a dozenwhich, though purchased for tho gal¬lery, have not yet been placed on itswalls. Whether such a strikingly col¬orful and ingenious piece of decorationas Mr. Chanler's "Giraffes" will be ad¬judged suitable for this room or

whether it will be placed elsewhere inthe museum in an atmosphere more

befitting its rich individuality, is, ofcourse, a matter depending upon thejudgment of the French authorities.The painting, which is sixteen by six¬teen feet, pictures a group of giraffesin a forest of tall trees. It wa3 paintedby Mr. Chanler in Paris in 1905, was

shown here in the Armory show in1910 and was re-exhiblted in Europetwo years ago. It Is a rich exampleof tho artist's feeling for naturalismcombined with fantasy.Four exhibitions, which just now are

attracting special interest among mem¬

bers of the Newport Bummer colony,were opened during the last we^k atthe Cushing Memorial, under the di-

Madonna and Child

(From tke painting by Albert Van Ouwater in the Metropolitan Museum)

rection of the Art Association of New¬port. These include the exhibition ofthe Junior Art Patrons' League ofAmerica, that of recent paintings byHelena Sturtévant, silhouettes and cal-igrams by Julia Brown, and a groupof illustrations in color of storicB ofadventura by Frank Schoonovcr, a

pupil of Howard Pyle. The associa¬tion's third annual costume ball andpageant of "The Viking," adapted fromLongfellow's poem, "The Skeleton InArmor," will be held on the evening ofAugust 29.

American artists in Rome and thegenerosity of Frank Vanderlip, theAmerican banker, are largely respon¬sible for the success of a new art gal¬lery which has sprung up in the fa¬mous Villa Borghese, in Rome, says a

foreign news dispatch .o "The ChicagoTribune." Rudolph Evans, the sculp-

Progressive Tendencies SeenIn Oiit-of-Town Exhibition

Pictures Shown at Mystic Creative and Originai*New Painting of Quaint Charm Received

by Museum ; Other Art Note»

From a Special CorrespondentMYSTIC, Conn., Aug. 17..The nlntl

annual exhibition of the Mystic ArAssociation of Mystic, Conn., is dynamic with the fore« of changinjthought. You feel at once in trtis

summer show, which continues untilthe twenty-third of the present monththat the general tendencies of Amer¬ican thought are reflected in its fortjpictures. There are this year none ofthe surface foarnings of the "new-at-

any-cost" element, nor aro there any

stagnant pools. Tho Mystic man are

creative and original.The pictures are hung in the assem¬

bly room of the Broadway School Inthis little center of art activity. Thereis ampio wall «pace to hang every can¬

vas on the same level without crowd¬ing. And in the short time it takes to

make a comprehensive view of thewhole one remains stimulated and re¬

freshed.The jury of selection was privileged

to enjoy a wide scope in Its choice ofentries. In view of tna large area of

available wall space it was enabled to

place each canvas where It fitted bestin relation to its neighbors. The col¬lection is varied.

It might be wished that tha qualityof the work were more even. Besidethe best the poorer ones show up ».

their very worst, but contrast makesvibration, and vibrate is what thisshow does. Landscapes do not pre-

dominate as they do in the neighbor¬ing exhibition at Old Lyrne. Here atMystic the collection resembles a sec¬

tion of one of the winter academy ex¬

hibitions more than would be expectedof a summer show.Charles H. Davis rarely disappoints

those who come annually to Mystic.While his vigorous style is recogniza-

ble at a glance, hi« choice «f sobVtf.i as wide as his reaction» to the «¡ifferent phases of ever-changing ¡a./scape. The sky in his "The Big R^j,.is typical, although It is ¡«_s win.driven than usual. It prove« fc«paint nature deep in a mood «tfthorecourse to haue. His other ea«*.»» :*a summer picture, a happy aotJf '!green tree» and bluo sky.

,1. Elliot Enneking and G. t&tñThompson, with their gentle and »aa»Mystic scenes, where houses and danyards are usually principal rôl«»,..^clamor for attention. When «à« iseen this exhibition for »even« «,*'it is their work that contribuí«»w*]y to the sum total of impr__«»/.*tained. Both fit the building*, m a,,."acteristic of New England, into ft«},pictures with fine feeling for comje»¡,tion. Enneking can make the «an .,the gable end of a whit« iarrahoos« n.verberate veritable brillance. lh.om.son can interpret detail intsreïtingiywithout being overm.tiealotig. ErB4..king's "Sunny Hoars" Is a little cold«*than most of his things, but Thoan.eon in his "Houao Under the Hill" {jat his best.Peter Marcus's one offering 1» «OldBoundary Wall." This does not *av»;of overinterpretatlon, though it» moodIs altogether Inflexible. Its atroosph««

seems too personal to have a wid« «p.peal. Other good landscapes are the««by Ernest Barnes, Kenneth Bate»Frances Orr, G. Victor Grinnell, ArthuiMeltzer, Lester Boronda, Erneèt Law«on, Carl Lawless, Julius Joseph amS. Macomber. Macomber ha» a moonlight, a subject that differ» greatl«from pure landscape, which h« hahandled very well In simple and p««tifashion.John S. Sargent's portrait of Chöi«H. Woodbury is one of the tm

pleasing of the contributions. It «jless formal and rigid than many jxntrait» he has done of persons -witwhom he seemed to lack familiaritand sympathy. Here, while retaininall his wonted technique, he ha» add.to the mere likeness a personal quaity that makes for consummate ezeelenca. Another successful portraitSherman Pott's "Thelipa," whkupainted in a fresh and honest nsanneFrederick C. Fricseke shows two of hfamiliar high keyed canvas«.. H"Image," with Its cunningly harm.;ized array of colors and just as cmnlngly composed linear qualities, a]pears at first to be trifling. But tifigure is done with surety and .hef*with spirit. Frances Q. Davis ahshow» a head, which while hardly me.than a sketch In size and treaimesIs done with fervor and forceful iwdition of the spiritual éléments. Ishows apparent absence of effort, a»is undoubtedly the best portrait ia t.gallery.Another figure, Murray Bewle.

"Girl With Fruit," has interest Eigene Higgins's "Driven Out" » _-*with a certain breadth and fore«, fcthe artist's intention seems a trifle t<dramatic and his figures too pos«Jerome Myers thoughtful gerne ft«*ies are decidedly powerful.

In a smaller room are hung »«than a hundred sketches. Most «

them are bits of country and bar**life in and around Mystic Lfc» &sketch rooms in the majority of summer exhibitions it is by _*s_0fl rf .*.«

vivid outdoor feeling, the moat -._.>?able part of the show. Among tie r&able things here are «Carl Lawl«»flowers and Ernest Barnee'» twoquisite gray harmonie» oi the »here.

tor, and S. Anthony Guarino, a youngpainter, both Americans, contributed anumber of works to the exhibition. Oneof the first visitors was Mr. Vanderlipand he was so impressed with what hesaw that he bought eight pictures andseveral sculptures to bring back toAmerica with him.The gallery was opened under the

direction of "La Fiamma,*' a weeklymagazine, with the idea of keeping itopen for a couple of months. Owing toits success, however, it likely will be¬come a permanent institution. A.ioriginal idea is involved. The artistssell their work directly to the buyers,thus eliminating the "dealer," but theyrecefve only one-half of the revenues.The other half goes to help the lesafortunate artists and to support themagazine, which is the official organand defender of the younger artists.

John W. Beatty, director emeritusof fine arts at the Carnegie InstitutePittsburgh, will publish a book thisfall dealing with the fundamental prin¬ciples of art and embodying the opin¬ions of many painters and sculptorswhom he has known. Mr. Beatty wanfor twenty-six years the director olfino arts at the institute. In a recen'interview Mr. Beatty declared that th<chief cause of confusion in art is du<to the fact that there are very fevgood painters.an incredibly smalnumber in any period, probably nomore than one in a hundred:.and so iis ea§y in the midst of tho vast majority of mediocre artists for the inexperienced to lose their way."The opinions and views of the gréa

master painters of our times woulseem to me to possess peculiar value,continued Mr. Beatty, "when the asworld at this time is topsy-turvy witnew fads, new so-called achoola enmodern expression. But art goes 01unmindful of the odd, the eccentric othe bigarre, simply recording outatan.ing characters and tho subtle beaut:grace and harmony of nature."

Frederich Rocher, whose painting» *.

distinction include that of Pope B.M*dict XV, which now hangs in the pala«»of tho Vatican, has brought to thi»country one of his latest canvases, *»*>

titled "The Sleeping Venus.'* It 1» «exhibition at the Waldorf-Astoria. »shows th« slightly draped figure of a

woman asleep on a couch of cria»«velvet beside a colonnade of dark in»*'

ble overlooking the sea. In it tal

"Goddess of Love" is portrayed aa *

woman in whom innocence aidyouth are outstanding qualities. *

famous member of an ancient as*princely family of Rome Is .»aid t*

have been used as a model for ti;life-sized work. Rocher laid the fe»"dation of his reputation nine J«*0ago, when he painted a portrait oí «*of the Orsini family, and later that *Cardinal Gasparri.

The English painter, E« Hod«*«Smart, has just completed a portr*of President Harding, who granted**artist a number of sittings at Wa**

sngton. The picture is a

three-quarter length and portrays Î*«

President in a serious mood. .*¦

Smart ia known for his portraitMarshal Foch, which is widely j*garded as one of the most sa««5**''likenesses that have been palate* *

the famous French general.

A recently completed paintlaS «

William Sänger of the two cbiidraa9Mr. and Mrs. T. C. Jones, of La****5L. I., is on exhibition at thegallery.

Opera at Popular Prie« fj^Brooklyn Acadttfuy of M-wfA two weeks' »eason of g«^ <#"*

at popular price» will be pre»,*.**-* .*

the Brooklyn Academy of __.»»*c» *^

ginning Monday evening. Septentb***1*by Jo.l&h Zuro, who waa chora* «frector of tho Manhattan Opera Co»*pany under Oscar Hammer»*»'18*