In the World oÍMusic and Art[Two New Books on the

Origin of Spanish MusicFelipe Pedrell and Eduardo M. Torner Contribute

Valuable Information About Songsof Their Native Land

( By Katharine WrightThose Interested in Spanish music

wil! learn with pleasure of two new

. kj on »he foundations of this art in

Spain-"Cancionero Musical PopularEspañol," by Felipe Pedrell, and "Can¬

cionero «'.sica! de la Linca Poular

Asturiano," by Eduardo M. Torner.Pedrell is known in Europe as a lead¬

ing musical authority. He is the com-

-fljer of an opera, "Loe Pirineos," and

»raong his literary activities have been

important contributions to the Rivista

"ÉxpÍrÜnced choristers.-4 tnr the r.exr choir of polo voices at

ffftrrt Presbyterian Church. Fifth Ave-1 i He*nth Street. (.Sopranos, altos,""Si, baf-e*l Works of tho oM masters'¿Standard Ora-.orlos «ill be rendered.file b^abla to read at sight. Write for5SSÄÄ.DR- WILUAM C. CARL.i w-t nth St.

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Musical Catalana. His present book isin two volumes. A third is to come.His "Cancionero" contains'classifiedexamples of all traditional types ofSpanish melody. He gives varioustheories concerning the origin of the"Cante Flamenco," the name given aform of Andalusian melody with freerhythms and occasional intervals ofless than a semi-tone. According toone suggestion cantes Flamencos cameinto Spain with the Flemings who camefrom Flanders in the time of theEm-peror Charles V. Another theory cred-its the tunes of cante Famanco withbeing Arab melodies from Africa trans-formed by Flemish gypsies.

Pedrcll's examples of Catalan melo-dies bear a certain resemblance toProvençal types, while the Castiliantunes appear to be more strikinglySpanish in character. These are sup-posed to have originated in songs ofthe Visigoths blended with Moorishmelodies. It is upon the music ofSouthern Spain, however, which in¬cludes the songs and dances Of Anda¬lusia, that most of the njusic instantlyrecognized as Spanish is founded, andin this music a strong tinge of Ori¬entalism is readily dis«^rnible.Tomer's book is notable for excellent

examples of Northern melodies, lessOriental in character, such as melodiesfrom Galicia, stirring Austrian airs,song3 and dances of the Basque prov¬inces.New York had a taste of Spanish

music in the winter of 1915-'16. Therewas, for instance, "Goyescas," by theunfortunate Enrique Granados, whosuperintended its production at theMetropolitan Opera House. Then therewas the dancing of Isabel Rodriguez.But the most vivid manifestation fromSpain came a year later. This was amusical revue, "The Land of Joy," attho Park Theater. Few who ex¬

perienced the intoxication of this en¬

tertainment will forget its spell, or thewitchery of the gypsy, Doloretes, whohas since.alas! gone the way of allflesh.

Will the wave of interest in Spanishmusic, Spanish books, Spanish cos¬tumes which swept Paris last year andwas mildly reflected here in a belatedenthusiasm for the writings of BlascoIbáñez make itself felt in the comingmusical season?Meanwhile at the Maxine Elliott

Theater no small feature in tho suc¬cess of "Spanish Love" is due to theincidental music by H. MauriceJacquet. Before the curtain is liftedon this romance ef love and hate, at¬mosphere is created by music from be¬hind the scenes. Airs from the Prov¬ince of. Murcia reveal all the capri-ciousness and contradictions of theSpanish temperament, its intensity andindifference, hauteur and melancholy.In certain respects the music awakensmemories of Raoul Lanarra's extraor¬dinary opera "La Hubañera," which was

sung in Boston under the régime ofHenry Russell. In the first act thereis an Ave Maria, in the second be¬trothal dances, vaguely reminiscent of"The Land of Joy," while in the lasta tragic srtain accompanies the death

DHILHARMONIfi CONCERTS ^1SÎ0.SEVENTY-NINTH SEASON.19J1

JOSEF STRANSKY.ConductorHENRY HADLEY, Associate Conductor.

/ SERIES AT CARNEGIE HALL12 Thursday Evenings. __,_>...... .«eason price $6.00 to $20.0016 Friday Afternoons..season price $8.00 to $30.004 Saturday Evenings...season price $1.75 to $5.00

12 Sunday Afternoons.season price $5.00 to $18.00Assisting Artists:

Rachmaninoff Seidel Samaroff Kreisler CasalsGrainger Schulz Hempel Bauer Serato

Lhevinne Matzenauer Godowsky MegerlinTickets ready now at the offices of The Philharmonic Society of

New York, Carnegie Hall

FELIX F. LEIFELS, Manager

-National Symphony OrchestraBODANZKYARTIJR CONDUCTOR

WILLEM GUEST

ConductorMENGELBERG60.SYMPHONY CONCERTS.60

30.EVENINGS.AFTERNOONS-301920.CARNEGIE HALL^-1921

HK.UK» Or 13 roNi'KRTK, EVKMN« OB AFTKKNOONLower Ti«»!- li'jx«-» (»«»iln* i>. .f<50.00 Drea* Circle (reniaWwier).$22.¡50t;pp*r Tl«r Boxe« (seating- »).. 870.00 Balcony (front »«».-.Ion). IS.75I'ur'iuct H»»«». 87.6« Balcony (rear im.-tli.-n). 18.0«tnaaa Clrcl« (drat three row*).. S0.00

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l,'pp«r Tter Bogas (Matins; »).. 1BO.00I'aciuit H*bt». 26.00L»r««a Clrcl* (ßr/rt thre* row«) 20.00

PARTIAT. Ï.IHT OF HOI/OISTS.Flits Kn*.nl*r Pablo < »««il» Harfa Rachmaninoff Osalp <7.abr.lowHwrhOle» HamajKitf i__.lon._Mr N«va*s John Vowr.il Arthur Knbln«t«laMmntmraitm !*_Mn*r* K«i(io.ph Oana }>;.n.-ie Mof-mlllen T.tram ZlmballstHenno MnlaatwHarh S«»«t« Fr)»fI_n__-_ I/M» Ornatcta YoUtDdo M«r«>.ft.?!» Ci-MSMS) Mbii»-Ziki-h, Kllr N>yFrtuicc» Aldi«Vf«4art<!b i.cMiard Alexan«!«»- Hc.hmal.cr Albftrt HpflMIn« f «uli» BnillyMl*r|.» l_e»l.«l_l Arris« »aria ./««pold Co4<»w»k_r Matilda I/ocn»Vmuff ItmaUjeantla Krno DohtitjnvlTj_* National Hymphôny appaar* four time« on Tonkors Artful« Hcrle», Tonteara,N. T, D.r.w»lon Bsrttta Hbart» Wolf. car* National «yrnphony, 25 W. 4îd ßt.. N. T.TJia Nation« I H y en phony Appear* foOr limp» on .T. A Feuratman'a World'«Pam'.u* Artl»«» Sett*« In ».»-warb, N. J. Ir.qulr» office. «2S Broad H»., Newark.», K. MAÍY«¡*IM.K_V, Mail ¿ft W. Uml w. fhon« Murray Hill 342«.VflK KMAIIK ÏH TKK OKKIT'ÏAI. PIANO

THREE SINGERS WHO WILL APPEAR Ii>Tl£ADÍÑg ROLES_r. ¦ »yi

WITH THE GALLO OPERA COMPANY NEXT WEEKscene. The composer ha3 not strivenfor spectacular effects of rhythm andcolor, but has utilized folksongs withtelling simplicity. His "Sevilliana" isparticularly effective. In fact, his en¬tire contribution to the play is worthhearing. Perhaps he will be heardfrom later on a larger scale.

Bodanzky IssuesFirst Programs of

The New SeasonArtur Bodanzky has announced the

programs for the first two paira of con¬certs of the National Symphony Or¬chestra, those on Friday evening, Oc¬tober 8, and Sunday afternoon, October10, and on Sunday evening, October 17,and Tuesday afternoon, October 19.

Ossip Gabrilowitsch, pianist and con¬ductor of the DeUoit Symphony Or¬chestra, wirl be Ahe soloist at the firstpair of concerts, and Francis Macmil-len, violinist, will be the soloist at thesecond pair.The program for the opening con¬

certs consists of Weber's overture to"Der Freischütz," Brahms concertoNo. 2 in B flat major for piano with Mr.Gabrilowitsch, and Richard Strauss's"Death and Transfiguration." The sec¬ond program consists of Schubert's"Unfinished" symphony, Carl Gold-mark's concerto in A minor for violin,Mr. Macmillen playing the solo part,and Charpentier's suite, "Impressionsof Italy."Mr. Bodanzky will begin the first

concert with a work which had its firstpublic performance one hundred yearsearlier to the day, the overture to "DerFreischütz." On October 8, 1820, itwas first publicly performed at Copen¬hagen, under the direction of the com¬poser. Weber was touring Denmarkat the time. The closing number of theprogram, "Death and Transfiguration,"is now thirtv-one years old, havingbeen written "in 1888-'89. It was thethird of a series of tone poems, theother being "Macbeth" (1886-'87) and"Don Juan" (1887-'88).

Schubert's "Unfinished" symphonywas begun in his twenty-fifth year. Helived six years longer, but wrote onlythe allegro, the andante and nine meas-ures of the scherzo.

Opera in BrooklynThe second performance of the près-

ent season of grand opera by the Ital-i'an Lyric Federation at the BrooklynAcademy of Music, following last even-ing's performance of "Aida," will begiven on Saturday evening, September18, at 8 o'clock. The opera will be"Fedora," by Giordano. Among thosewho will take part is Barbara El-dredge, a soprano who has sung sue- |cessfully in Switzerland, Germany andFrance. The other artists have not yetbeen announced. Fulgehzio will direct.

San Carlo Forces toGive Seven OperasIn Opening Week

Seven performances of as many dif¬ferent operas are scheduled for theopening week of the San Carlo GrandOpera Company's season beginningMonday night, September 20, at theManhattan Opera House.Fortune Gallo, the impresario, has

assembled an interesting list of guestartists to reinforce the regular mem¬bership of the San Carlo organizationfor its visit to New York. Those an¬nounced for the first week include AliceGentle, mezzo-soprano, formerly of the.Manhattan, La Scala, Havana and Met¬ropolitan opera companies; Lydia Lip-kowska, coloratura soprano, who sangin Henry Russell's company at the Bos¬ton Opera House, and who returned toAmerica last winter from Russia intime to appear in one performance withthe Chicago organization at the Lexing¬ton; Bettina Freeman, last heurd inNew York with the Century Opera indramatic soprano rôles; Marie Rappold,dramatic soprano, of the Metropolitan;Anna Fitziu, whose New York appear¬ances have been made with both theMetropolitan and Chicago forces; No-buko Hara, a Japanese soprano fromthe imperial Theater in Tokio, who willmake her American début, and EugenioCibelli, an American-Italian tenor re¬cently returned from opera houses ofItaly to make his first appearance inthis country.The first opera will be "Carmen,"with Miss Gentle in the title part. On

Tuesday night Mme. Lipkowska willappear as Gilda in "Riçcoletto." "Tosca"will be given Wednesday nipht, withMiss Freeman, Messrs. Cibelli, Valleand de Biasi. Mnrie Rappold will singthe title rôle of "Aida" Thursday nifcht,with Stell.» «le Mette, mezzo-soprano,and Manuel Salazar, tenor.¡Anna Fitziu will sing Elsa in "Lohen¬

grin" for tho first time in New YorkFriday night. "Madame Butterfly" willbe the Saturday matinee bill with No-buko liara heading the cast.-a

Flagler Prize ContestCloses September 30

September 30 is the final date onwhich American composers may entertheir compositions in the contest forthe prizes offered bv Harry HarknessFlagler. The first prize of $1,000 andsecond prize of $500 have already at-;tracted a number of aspirants. GeorgeW. Chadwick, John Alden Carpenter.Franz Kneisel and Leopold Stokowskiwill serve with Walter Damrosch asjudges.According to the conditions govern-ing the contest the composition to be

submitted must be of symphonic struc-ture, in one movement (overture, prel¬ude, or symphonic poem), and mustnot occupy more than eighteen minutesin performance. The work must neverhave been published or performed inpublic, and the composer must be acitizen of the United States.A full orchestral score must be sent

to the Symphony Society of New York,33 West Forty-second Street, New YorkCity, before October 1, 1920, and shouldbear plainly marked on its title page amotto, but not the name of the com-poser. A sealed envelope containingthe name and address of the composerand bearing on the outside the samemotto as is placed on .the title pageshould accompany each musical manu-script. These envelopes will not beopened until after the prizes have beenawarded.The first prize composition will be !

performed by the New York SymphonyOrchestra at one of its regular con¬certs in New York City during theseason of 1920-'21. i

National Symphony toPlay for ImmigrantsAs part of the welcome of the "Land

of the Free" to the thousands of immi¬grants who are entering it by way ofNew York the National Symphony Or¬chestra will give a concert on EllisIsland on Sunday afternoon, September19, for those who are there at that jtime. From 2,000 to 7,000 of them areon the island every Sunday awaitingpermission to enter the country. ArturBodanzky, conductor of the orchestra,will direct the concert, and there willbe two soloists, both American.Mme.Marguerite Ñamara, soprano, andFrancis Macmillen, violinist.This concert is part of the scheme

of Frederick A. Wallace, Deputy Com¬missioner of Immigration, to make im¬migrants realize that this is tho land

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of opportunity which they believed itwas when they started for it, and thatit is glad to have them come here. Hehas had other concerts given for theirentertainment, and in other ways isdoing all possible to make their fir3timpressions of America pleasant.The program will contain music that

will recall their native lands to someof the immigrants, and will containother music representative of the landwhich is to be their new home. Mr.Bodanzky, Mme. Ñamara and Mr, Mac¬millen will give their services free forthe concert.

Mrs. Coolidge toAward 1921 PrizeFor the Best Trio

The Berkshire Music Colony, Inc., an¬nounces for 1921 the competition in¬augurated by Mrs. F. S. Coolidge tostimulate the creation of chamber mu¬sic works. It offers a prize of $1,000 tothe composer of the best trio for piano,violin and cello, submitted to a jury thenames of whose members will be an-nounced later.The prize winning composition will

have its first performance by' the El-shuco Trio at the Berkshire Festivalof Chamber Music, 1921, to be heldat Pittslield, Mass. The special condi-tions governing this contest are asfollows:The contest will be open from now

until August 1, 1921. All manuscriptsarriving later will be returned a.s in¬eligible, as will also those not com-plying with the conditions stipulatedin this announcement.Only compositions which are not pub¬

lished, and have not been performedin public, either in part or their en¬tirety, will be accopteii. No composi¬tion which has already won a prizewill bo accepted. Transcriptions or

adaptations will not be eligible.The winner of the prize is to grant

to Mrs. Coolidge the sole control ofthe rights of performance, eithm- inpublic or private, of the prize winningcomposition during a period of fourmonths from ¡he date of the award of'the prize, and transfer to her fromthat date the ownership of the origi-nal manuscript thereof. This stipula-Ition refers in no way to the copyright,but to the manuscript as a souvenir.

All manuscripts (piajio score andseparate parts for violin and cello)must be sent anonymously, and markedwith a nom de plume or chiffre. Asealed envelope with the nomde plume«or chiffre on the outside, and contain-ing name and address of the composer,must be enclosed. Any distinguishing]marks of identity will be concealedfrom the jury. The composer of thework ranking highest after the prizewinning composition will be awardedhonorable mention if he so desires.The name of no other contestant thanthe prize winner will be revealed bythe secretary at any time, except bythe consent of the composer.

All music will be returned, and no

responsibility is taken for manuscriptslost in transit.The compositions must be sent to

Hugo Kortschak, secretary, BerkshireMusic Colony, South Mountain, Pitts-field, Mass.

Music NotesAt the opening of every season con-

certgoers see new faces at principaland subsidiary desks. Fourteen newplayers have joined the orchestra oftie Philharmonic Society for itsseventy-ninth season; Messrs. FichardCulp and Samuel Kuskin, first violins;William Eastes, viola; P. Guia andAlbert Bortolomasi, basses; N. Ko-loukis, flute; Bruno Labate, oboe;Gustave Langenus, clarinet; EdwardRoelofsma, bass clarinet; Louis Gales,trumpet; Harman Dutschke, horn;Richard Van der Eist and BancionWankoff, trombones.

Commencing Sunday evening. Sep-tember 19, the Lexington Theater willbegin a Sunday night series of con-certs under the management of theMusical Bureau of America, commenc-

ing with a recital by Toscha Seidel,violinist, and Harold Bauer, pianist,followed by Leopold Godowsky andMax Rosen on September 2tj.Among the artiBts engaged for this

series, which will continue for thirty-nine consecutive weeks, are EmmyDestinn, Alessandro Bonci, RiccardoStracciari, Margaret Matzenauer, MaxRosen, Jan Kubelik, Frieda Hempel,Mischa Levitzki, Helen Yorke, CarloEnciszo, Nina Tarasova, the RussianSymphony Orchestra and others.

Michio Itow, a Japanese dancer, andSonia Serova, a Russian dancer, will

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i Polacco to HeadOpera CompanyIn San Francisco

Another American opera company isin prospect, to be located in San Fran¬cisco, with the conductor, Giorgio Po¬lacco, as the directing head. Mr-.Po-lucco, who has been spending the sum¬mer in Chicago, recently returnedfrom a trip to the Golden Gate city,where he had been invited to conferon the subject with a group of theleading financiers and musical ama-

I teurs of the West.He reports great enthusiasm over

the project. The plans contemplate the\ construction of a modern opera house,fully equipped with all the latest im-

| provements in the way of efficiencyon the stage and comfort and beautym the auditorium, likewise the organi¬zo tion of a company and an orchestraof the first rank.The promoters of the enterprise are

engaged in a drive to raise the finalhalf million of a fund of $2,500,000,four-fifths thereof being already raised.This amount is intended to cover thecost of constructing the building andai-^emblinc the equipment. As soon asI the complete sum has been acquiredother details will be announced, ofwhich not the least is the appointmentof Mr. Polacco to the head of the com¬pany.For twenty-eight years Mr. Polacco[ has enjoyed the enviable reputation ofbeing one of the world's leading oper-atic and symphonic conductors. He isfavorably known in the United Statesfor his performances with the Metro-politan and Chicago opera companies,as well as for his appearances as guestconductor with the Chicago SymphonyOrchestra. In Europe and SouthAmerica he is recognized as a leaderof his profession in practically every| city which is visited by an opera com¬

pany of the better class.He was the successor of Mancinelliin Rome, of Campanini in London and01 Toscanini in New York, jiast win¬ter he wa3 the first foreigner invitedtry the association of French composersto conduct works by their members inParis. His wife is the American lyricsoprano, Edith Mason, who after hav-ing sung- last winter in the Opéra andOpéra Comique in Paris and also atMonte Cario was reengaged by allthree houses for the coming season.

appear in a series of joint recitals atthe Greenwich Village Theater cora-mencing Sunday evening, October 27.Mildred Wellerson, a cellist, will ap¬pear in a concert at Carnegie Hall¡ November 6.

Walter Damrosch has secured forfirst performance in New York LeoSowcrby's new concerto in F majorfor piano with orchestra. It will begiven by the New York Symphony ür-chestra early in the season with E.Robert Schmitz as the soloist.The concerto is in three parts: Thef.rst is a movement in fast marchingtime; the second is a fantasy, markedby the composer to be played whimsi-cally and in meditative mood; the lastmovement is a martial one.Leo Sowerby is an American, born

twenty-five years ago in Grand Rapids.He has accomplished all his musicalstudies in the United States. Twoyears ago Mr. Damrosch presented inNew York for the first time his over¬ture, "Comes Autumn Time." Mr.Sowerby was then serving with the332d Field Artillery.Sketches for the piano concerto were

begun by Sowerby in 1916; and whenthe first draft of the composition wasperformed in Chicago the followingyear it contained a part for sopranovoice. The present version, which elim¬inates the vocal part, besides introduc¬ing other radical changes, was scoredin the summer of 1913 and first playedby the Chicago Orchestra last March.Walter Damrosch, conductor of theNew York Symphony Orchestra, sailedfrom Europe for home yesterday on

tthe Lafayette. After the tour of Europeof the New York Symphony Orchestrathe conductor spent his vacation on thebeach at Etretat, France.-»

London Group ExhibitsIn Manchester, England !The second exhibition in Manches¬

ter, England, by the London group wason view during the latter part of Au¬gust. The Manchester Guardian says:"Whereas last December the exhibits

of the decorative art group lent sup¬port, on this occasion Spanish paint¬ings by Gustavo de Maeztu are here to«atisfy the more conventionally mindedvisitor. The London groups show sixty-one exhibits, of which twelve are bythe brothers Nash.Paul and John.The latter is proving to be the more

interesting of the two. He is particu-larly so in his small wood engravings.They show an admirable sense of com-

position and medium. Mr. Paul Nashcontinues in his now well known vein,and seems to have become a recipedraftsman. One of these looks like ascene in the tortured battis arca ofFrance, but he calls it 'Early Spring,Fulmer.' Thérèse Lessore has managedto convey her de-pression at what she jsaw in the 'Gallery at the Agricul-tural Hall' rather successfully. Butone wishes she had not. Mr. A. P. AI-linson has skillfully painted the.Grampians and Scawfell under snow.But his dexterity leaves one somewhatcold.though not in the way he realizedthe meaning of the word while paint-!ing. There is much sound work in hisportrait, 'The Black Dress,' but Mr.Dickey, with his 'H. Ä. Spiers, Esq.,'produces a better picture. Mr. Bom-berg shows three exhibits which hecalls 'Rocks,' 'Doubles' and 'Pines,'but the evidence produced is hardlysufficient justification. The three mostfamous members of the group.Mr.Jacob Epstein, Mr. Roger Fry and Mr.C. R. W. Nevinson.do not exhibit."The paintings and drawings of

Señor Gustavo de Maeztu make mostof the other works on exhibition seemrather amateurish. Señor de Maeztushows fifteen oil paintings of landscapeund figure subjects. His landscape«and portraits are romantic and paintedwith a full technical equipment. Thelargest painting is 'Dwellers in the Vil¬lage.' The composition is not veryhappy, and the villagers should -notseem unaware of each other's closeproximity. The allurement of 'Fanny'is well conveved. The best landscapeis perhaps 'Church of Les«s." Thecharcoal drawings are noteworthy, andtheir handling is masterly."

._J_i_- -'

Random Art NotesAt Home and Abroad

Goya's Painting of Wellington, Long Supposed toHave Been Lost, Is Believed To

Be in ItalyROa&E (by mail).

The great portrait of the Duke ofWellington painted by Goya, the Spanishpainter, which was supposed to havebeen destroyed by the artist, is in astndio somewhere in Italy. Its where¬abouts are known to eight persons. The*on!y sketches of the Duke of Welling¬ton by Goya are in the British Museumand a private art collection. JHow thispicture remained hidden for over ahundred years is one of those storieswhich are worth telling.

Goya, or, to give him his propertitle, Francisco José Goya y Lucientes,was born in Spain, in 1746, at Fuen-detodos, a small town in the Provinceof Aragona, near the town of Sara-gossa. He studied under the then wellknown painter, José Martine«, whofound his pupil a v.ery lively youth andone who always insisted on painting,not according to rule, but according tothe mood he was in.Martinez had studied in Naples and

was a very careful and exact painter,

other, until it came into the possessionof those who brought it to Italy.The reason it remained in obscurity

was because, after Goya's departurefor Bordeaux, about 1824. bis furm-ture was sold. The second-haad dealerwho bought the unfinished portrait e*i-dently did not think that the Englishcaa&g of countenance was the sort of

| picture to sell well, so he painted ia ai Spanish style of whiskers. This paint¬ing changed hands often and was final¬ly bought by an English consul in asmall Spanish town, a man, evidently,who appreciated art and knew that un¬derneath there might be a wonderful^painting. He never sold it, but toldhis sisters, "If ever I die and you arehard up, remember that the painting isworth a great deal of money."These two English íbdjes earn« to

Italy, accompanied by the portrait, andas they had a small income, they man¬aged to get on without parting withthe painting. The war came, and theyfound that a great deal of their in¬come was swallowed up. They decided

Reproduction of the Goya Painting of the Duke of Wellingtontrue to life. Goya, although he ad¬mired the master's work, never wouldwork by rule and rote and was oftengiven to impetuous moods which al¬ways led him into trouble.This explanation is necessary in

order to tell the story of the paint¬ing of the duke's portrait, which,as historians nave recounted, wasnever finished, owing to Goya's tem¬perament. He caused so much dis¬turbance in his native town during thetime of the processions, by rival pro¬cessions, that all agreed that it wouldbe a jolly good thing if the authori¬ties put up the money to send himto Rome to study, but Goya had madeso many enemies that no one would payhis expenses to Rome.What he learned in Rome was of

great benefit to him. When he returnedhome he accepted a job at painting tap¬estries, after which he'was ready toaccept the post as assistant to Mengs,the royal portrait painter, and it was

through that painter that the Duke ofWellington was induced to have hispicture painted.Now, the duke was the very antithe¬

sis of Goya, and any sensible personwould have realized that a portrait ofthe duke could never by any chance befinished if Goya was the painter. TheDuke of Wellington, after his victoryover Napoleon, was sent by the Brit¬ish government to act as plenipoten¬tiary at the peace conference at theAustrian capital. His uniform was abeautiful one, and he thought that ilwould be very niee to have a portrailto hang in the palace which had beergiven him by a grateful nation for hi!success at war. Goya worked verjquickly, and he had decided that h<would finish the work in a few sittingsHe first made the two sketches whiclafe so weli known and worked car.efully sketching the duke's head iicolors. The uniform was to be leffor another sitting. He worked rapidly, and as the portrait now shows, h<worked remarkably well.

Unfortunately, * the duke and h«started arguing, probably about th«war or about art, and Wellington, s

man who was accustomed to have evenone agree with him, insisted on holdinjto his argument.Goya, who was quick tempered, over

come by his antagonism, hurled a piester cast at the duke's head.Naturally Wellington left the roon

and never would return to have th«details of the uniform sketched, and s<it remains to this day.Every one, even the descendants o

the duke, believed the portrait to hav«been destroyed, but by iom« strängaccident it was only stored away in igarret for many years before it w»¦old to first one person and then an

to part with the painting:, bot were de¬termined to put their trust in an hon¬est artist. They sought counsel of a

British official, who gave the name ofan artist on whom they could rely.Now, tho artist, too, had suffered bythé war, but, as artists all over theworld do, out of pity for theseEnglish women he told them that hewould advance some money. They aaidthat they could not get on with lessthan 5,000 francs. The artist hadn'tthat amount, but they besought him todo his best. He had some friends, wholent him the money, and he gave it tothe ladies. Although they said that theportrait was' valuable, at first sight itwas not prepossessing. Every monththe needy ladies wrote for money, andwere disappointed when *> purchaserhad not bee/, found for the picture.The artist was losing heart, too, as noone wanted to buy the picture, muchless give 6,000 francs for It, yet hehadn't the heart to refuse the beseech¬ing appeals for money.

Finally, when the sums had reached18,000 franca, the artist himself feltthat something must be done, as heran the risk of losing all this money.It is true that he had plenty of work,but people paid slowly, and he couldn'tvery well ask to be paid ahead of tits»in order to pay the debts incurred bythese needy English ladies.Not a person offered more than one-

fourth the sum he had sent away. Dis*gusted with life and swearing at him¬self for being a good-natured fool, hestarted to clean the painting. AH hisspare time was spent in clearing awaythe black whiskers. This work waa a

supreme joy to him, as he discoveredunderneath the wonderful head, whichhe realized was the work of a greatmaster. All his bad humor disap¬peared, and he realized that some¬where there must be a signature o<some sort. He soon found it, "SignedGoya, 1822." The artist w»a so happyat his find that he wrote to the own¬ers of the paintyig, telling them that

Continué*! en nut par«

Metropolitan Art School6« W. 57 »T.

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