MRS. HARRIET OTIS DELLENbaugh.

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RS. DELLENBAUGH gave two readings before the Brooklyn Institute, Nov. 14 and Dec. 5. The first was a 64 • Pickwick program of selections from Papers. The extracts were well chosen and arranged, and were given with an abandon which secured immediate interest. The courting scene was admirably rendered, as was also the description of the chase in the stage-coach after the elopement. This last was assuredly the best work of the evening.

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The program on Dec. 5 was "An Evening with Browning." In this, Mrs. Dellenbaugh was thoroughly at home, giving evidence of her high rank as a reader of Browning. Her selections were: "A Tale," My Last Duchess," 'Ottima and Sebald," Youth and Art," "Adam, Lilith, and Eve," Cavalier Tune II," and Fra Lippo Lippi.' In the two dramatic sketches of Ottima and Sebald" from "Pippa Passes," and "Fra Lippo Lippi," Mrs. Dellenbaugh excelled. The last was a revelation of her keen study and well-directed imagination. Though the program was more intellectual than any other in the course, it was invested with a simplicity and clearness which revealed many rays of light to those who had been groping in darkness through the mazes of Browning's apparent obscurity. No higher commendation need be offered for Mrs. Dellenbaugh's art.

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MRS. WALDO RICHARDS.

H.

Mrs. Richards gave two readings before the Brooklyn Institute, Nov. 21 and Dec. The first program included: Patsy at the Kindergarten," by Kate Douglas Wiggin; 'Cigarette's Ride across the Desert," by Louise de la Ramée; selections from James Whitcomb Riley, and "A Village Singer," by Mary E. Wilkins. Mrs. Richards is at her best in pathos and in her delineation of child-selections. Her dialect work is also to be highly commended. Therefore the poems of Riley received a deserved appreciation. But the same tremor, which she uses at times with satisfying effect, plays too important a part through all her vocal work, and becomes monotonous. Her voice often gives the effect of being strained. The deep, round tones seem lacking. Her simple descriptive passages often sound affected. quest, Mrs. Richards gave a "Sketch of Venice," by F. Hopkinson Smith.

By re

Her second program was: "One, Two, and Three" and "The Way to Arcady,' by H. C. Bunner; "Heman's Ma," by Alice Brown; selections from the poems of Oliver Wendell Holmes; "Jessekiah Brown's Courtship," by Ruth McEnery Stuart; selections from the stories and poems of Eugene Field; "The Lost Heir," by Thomas Hood, and (by request) "Bridget

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O'Flanagan on Christian Science." It is to be regretted that she should include the last number on a Brooklyn Institute program. As a whole, these selections were not as satisfactory as those of the previous evening. The humorous numbers containing dialect were admirably rendered. Bunner's One, Two, and Three" received the delicate management which was lacking The Way to Arcady." With Holmes's 'Chambered Nautilus the attention was called to the quality of the reader's voice rather than to the thought of the author, a fault too often found in many adherents to the profession of the art of reading. Mrs. Richards also gave, by request, "KneeDeep in June," by James Whitcomb Riley. This was ably handled, the points of humor and enthusiasm being well sustained. The poems of Eugene Field showed special aptitude in that line and aroused well-earned H. applause.

scene

MISS JESSIE Alexander.

Miss Alexander gave readings before the Brooklyn Institute, Nov. 28 and Dec. 19. On the first evening her selections were: "The Decree of Duke Deodonato," by Anthony Hope; a sea-fight from Westward Ho,' by Charles Kingsley; "Saunders M'Glashaus's Courtship," by Kennedy; from "Our Mutual Friend," by Dickens; scene from "Henry VIII.," by Shakespeare, and "Friday Afternoon in a Primary School" (original). In the lighter numbers there was much to be commended in the easy, graceful manner, pleasing voice, and a true dramatic instinct. With the heavier work, such as the selections from Kingsley and Shakespeare, there was a lack of earnest emotional strength. "The Sea-Fight" was somewhat beyond Miss Alexander's ability, requiring greater volume than she could command. In the scene from "Henry VIII." her conception of Queen Katharine, according to her rendition, was weak and unsatisfactory. The Queen's plea was given with the manner of a thoroughly up-to-date society girl, not as that of a mature, grief-stricken woman. Miss Alexander should mend an error in her pronunciation of the sound of soft r, as in heard," "averse," etc. Her delivery of Scotch dialect is a specially strong point in her favor.

The second program was: "Coaching in Scotland" (original); scenes from "Romeo and Juliet," by Shakespeare; The Obstructive Hat," by Anstey; "For Conscience' Sake,' by Ian Maclaren; illustrative sketches of national courtships by different authors, and a repetition (by request) of "Friday Afternoon in a Primary School." The scenes from Romeo and Juliet," while they showed careful study, lacked in convincing emotional work. One never lost sight of the reader in the character assumed. The other selections were given with entertaining power, generally.

An

According to Brachet the number of words in the Dictionnaire de l'Academie is 27,000, including 6,000 primitive expressions. The Littré Dictionnaire contains 66,000 words. The English dictionary of Samuel Johnson contains 15,000 words; the Standard Dictionary has over 300,000. ordinary German lexicon numbers about 42,000 words; a Spanish lexicon 52,000. The Arabic language has some 30,000 words. According to an imperial dictionary published in the 18th century Chinese was then composed of 41,000 known words. **Sarah Bernhardt scored one of the many triumphs of her life at the Théâtre Renaissance, Paris, in December, when she presented a stage-version of de Musset's "Lorenzaccio." In this play she assumes a male role for the first time. It is a sad but true fact that notwithstanding the great fortunes that Mme. Bernhardt has amassed, she is to-day poor. Upon returning to Paris, after her American tour, she was compelled not only to expend the $90,000

she made but also to pledge her jewels to meet her pecuniary obligations. A chateau in Brittany is her only possession. Sardou recently criticised the rapidity of Bernhardt's diction. "At general rehearsals," he said, "she recites divinely, at the first performance stupendously, but after that she runs at break-neck speed. It is worse when she performs out in Paris."

**

To attain perfection in singing, says Mme. Patti, one should begin at an early age, and it is most important that first instruction be the best obtainable. Above all, she should be thoroughly and correctly grounded in the rudiments of the art. This can be done only by one who is a master of vocal training. Bad habits and mannerisms of vocalization acquired at the outset can never be overcome. The vocal aspirant's voice should then be judiciously developed and particularly her weak points strengthened-by suitable vocal exercises. That done, she should render herself familiar with the great masters' works by industriously studying them herself; by diligently seeking for the composer's meaning, singing every doubtful passage over and over in every variety of interpretation, deciding which is most in harmony with the true spirit of the composition. Those who wish to be great singers must practice untiringly. Having developed a voice, the next thing is to preserve it. Nothing will wear it out quicker than excessive use. Three times a week, at most, if the singer is in perfect health, is as often as one should sing in opera, if one desires to retain long the pristine freshness, sweetness. and power of voice. Nervousness, trouble, and worry are great foes to the singing-voice. A pupil should, therefore, have abundance of sleep. She necessarily retires late and hence must rise late. Insufficient sleep soon injures the nervous system, and through it the voice. Before going on the stage, it is an excellent practice to gargle one's throat with some soothing, mildly astringent lotion.

walk is noiseless, with short, nervous steps. Revenge is betrayed by the feigned smile and the shrinking, noiseless step; hauteur by a slow gait, toes conspicuously turned out, and legs straightened; hesitation by wavering steps. Obstinate people, who in argument rely more on muscularity than on intellectuality, rest the feet flatly and firmly on the ground, walk heavily and slowly, and stand with the legs firmly planted and far apart.

**The monument to be erected to Richard Wagner at Baireuth consists of a temple with a round cupola on pillars, with a statue of the composer in the middle.

** Ian Maclaren, after an unusually profitable lecture-recital tour, returned to England in December, and no one begrudges the good Doctor his success or the American dollars he carried with him. Earnestness, an unstudied manner, and a musical, sympathetic voice were his conspicuous characteristics as a reader, Dr. Maclaren was offered $50,000 if he would prolong his visit for twenty-five weeks, but he declined, feeling that he ought to be at his post of duty in Scotland.

** Sardou has just finished a new threeact play on the thoroughly novel subject of spiritualism. It is called "Spiritisme" and will be brought out at the Théâtre Renaissance, with Sarah Bernhardt in the leading role. Sardou has been investigating spiritualism for the last forty years, and the drama is claimed to be an unbiased presentment of the subject from a modern viewpoint. Edmond de Amicis, the Italian writer, visited Sardou in Paris and thus describes his personal appearance: “He looked little like Napoleon, a a little like Voltaire. He wore a large blackvelvet cap, below which fell long, waving gray locks. My attention was riveted by his strange face, without beard, and colorless, with a long nose, pointed chin, and irregular, strongly-marked features lighted up by two sparkling gray eyes, full of thought, the glances of which corresponded with the rapid motion of the thin, flexible lips, and the acute yet benevolent expression of the whole face, sometimes illuminated by a bright, slightly mocking smile like that of a young man."

** Mrs. Laura Ormiston Chant is a shrewd, versatile, well-meaning woman. Last year she was particularly successful in her crusade against certain low-class music halls in London; but this year she was unable to prevent some of these halls from obtaining licenses. Determined, however, not to be undone, she has composed several

songs, which she will endeavor to have sung at these halls, believing that a better class of songs will elevate the moral tone of the habitués.

** A bronze bust of Sir Joseph Barnby was recently unveiled in Albert Hall, London.

** In order to advertise his stories thoroughly, Hall Caine gives readings from them before they are published.

**The following item from London is significant: "It is whispered in theatrical quarters that the high salaries now received by leading actors are menaced with notable diminution. The profession is getting overstocked, and eminent popular artists are finding themselves too frequently at liberty' for prolonged periods. Among the actresses who are politely announced as 'resting' are Mrs. Patrick Campbell, Miss Evelyn Millard, Miss Elizabeth Robins, Miss Janet Achurch, Miss Marion Terry. The high sums still demanded by these artists has something to do with their lack of employment. The days are gone when a really capable actor was considered paid with 10 a week, and the days are going when they can insist upon getting £80 a week." American managers would do well to follow the initiative of their English cousins and firmly decline to pay the preposterous prices that our foreign artistic visitors demand. So long as managers will pay such sums, so long will these artists ask them. If their names were omitted from the list of attractions once or twice, they would soon come to terms.

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**The National Opera-House of Paris has published a list of operas given there between Jan., 1830 and June, 1896 Among the French composers whose works were produced, Auber is represented by 1,193 performances; Halévy by 1,078; Gounod by 1,031; Adam by 578; Thomas by 469; Délibes by 274; Massenet by 222; St.-Saëns by 160. Among the Italians Rossini had 1,409 performances; Donizetti 1,003; and Verdi 721. Meyerbeer heads the Germans with 2,603 performances; then comes Wagner with 260, Mozart with 227, and Weber with

207.

**John Gabriel Borkman" is the title of Henrik Ibsen's latest drama, of which 12,000 copies have been printed in Norwegian alone, the largest edition ever published in Scandinavia. It will also be translated into four other languages-English, French, German, and Russian.

** Nurberto Giordano, composer of "Andrea Chenier," was married at Milan

in November to Miss Olga Spotz, the daughter of a wealthy hostler. Verdi presented the bride with a diamond-set fan. Giordano is a representative of that school of musical composition of which Mascagni and Leoncavallo are the leading exemplars.

At his death Du Maurier's fortunemade during the last two years of his life and mainly from royalties on "Trilby" and advance payments on "The Martian amounted to $250,000.

** In Japan a play begins at eleven in the morning and lasts until nine at night. There are no seats in the Japanese theatre so everyone sits on the floor, and everyone smokes during the performance.

**A method by which the deaf are enabled to hear music is said to have been invented by Dr. Thomas McKendrick, an expert in electro-therapeutics, of Glasgow, Scotland. A phonograph supplys the music. The sound-waves are received into a regular telephone transmitter connected with batteries under a tub of water. Take, for instance, a person who has been deaf from birth. He immerses his hands in the water. The rhythm of the music is conducted by the nerves locally affected to the brair, and the sensation is one of pleasure. Greater still is the pleasure experienced by one who has once had normal hearing. If the tune selected is a familiar one, he may easily follow the changes of the music, and by the aid of his imagination, which in the deaf is unusually acute, he can thus enjoy this oddly-conducted concert almost as thoroughly as if his hearing was normal.

** Sir Henry Irving is one of the best swordsmen in England, and is also skilful in handling the gloves.

** Regarding the recently-discussed question of Shakespeare's genealogy, Edward Dowden, professor of English literature in Dublin University and perhaps the foremost living authority on Shakespeariana, says: "It is now regarded as sufficiently proved that Shakespeare's paternal grandmother was a Griffith, a member of a race the most intensely Celtic, or rather Cymbric, in South Wales. Now we are asking ourselves how it did not hitherto strike us that the great poet's undoubtedly Celtic vein was his by right hereditary. Stratford is but a step from the Welsh marshes. The Shakespeares probably made many other Welsh alliances. Nay, the very name Shakespeare may be a corruption or an amplification of some old Cymbric patronymic."

The original manuscript of Rossini's

*** According to the London Family Doctor, a physician who has devoted himself to investigating stage-fright advises those who suffer from it to combat the nervous asthenia that paralyzes their faculties and causes them to lose their selfpossession by taking ten drops of tincture of gelsemium three times a day. Another specialist prescribes wine of opium to be taken by actors and by singers, before going on the stage. From five to six drops, he says, will give to the most timid actor the self-possession of the most spirited old player.

**At the zoological gardens of Manchester, Eng., there is a monkey that plays on the violin.

**Anton Bruckner, one of the foremost German composers, died recently in Vienna, aged seventy-two. He was known chiefly by seven long symphonies and three grand masses, in all of which one readily trace the influence of the Wagner motif.

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AMERICAN.

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An elaborate mausoleum has recently been erected in Woodland Cemetery, London, Ontario, to the memory of Annie Pixley, the actress, by her husband, Robert Fulford. It is of gray granite, Gothic in style, and is surmounted with life-sized statues typifying music, drama, and victory.

lel bars, jointed and capable of being folded under the desk when not in use. These bars are just the width of the aisle, and when in position reach from desk to desk. The rings, clubs, etc., are hung by the side of the desk. Each is used in turn, and every muscle in the body is exercised. Mr. Blessing holds that these exercises, properly directed, for fifteen minutes daily, work wonders in the physical condition of school-children. The Chicago Board of Education has introduced the system into its public schools.

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Teresa Carreño, the celebrated pianist who appeared at the Philharmonic Society concert, Jan. 8, is considered one of the most beautiful women of the latter half of the nineteenth century. Her marital affiliations are also notable from the artistic excellence of her husbands, viz., Emile Sauret, the violinist; Giovanni Tagliapietra, the baritone; Eugen D'Albert, the pianist,—from all of whom she is divorced. Mme. Carreño is a Venzuelan by birth but came to the United States in her youth and studied under Gottschalk. She will be heard in New York, Jan. 29, 30, Feb. 25; in Brooklyn, Feb. 26; in Philadelphia, Feb. 22; in Washington, Feb. 23; in Baltimore, Feb. 24; in Boston, Feb. 19, 20; in Cincinnati, March 1, 2; in Chicago, Feb. 5, 6.

**"Nothing adds greater fascination to a woman than the possession of a musical, well-modulated voice," says Godey's Magazine. "It is almost hopeless to correct defects in a grown person. It is the mother who should commence by training the speaking-tones of her children almost as soon as they begin to lisp their first infantile words. In most scheols the pupils recite their lessons in a high-pitched, monotonous key, and provided their answers are correct, the instructor cares little about the pronunciation or the modulation of tones. In England and in France children are reproved for talking too fast and too loud; consequently there is more music in the voice of the women of these nationalities than can be found in that of Americans. A low-keyed, sweet voice and distinct intonation should be possessions much coveted by a woman. They are often the secret of the fascination exercised by plain women over those with

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whom they come in contact. learned by watching oneself carefully and repressing the natural tendency to speak shrilly and enunciate thickly. Almost all of the English writers comment on our lack of cultivation in this respect and while, lauding the grace, beauty, and intelligence of the American girl, generally manage to say something sarcastic about her voice."

** Emma Eames has ruffled up the feathers of orthodox Wagnerites and tradition worshippers, by singing Elsa in "Lohengrin" and Elizabeth in Tännhäuser " in her own luxuriant dark tresses instead of the conventional golden wig.

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The new home of the N. Y. Athletic Club, to be located on Fifty-ninth Street and Sixth Avenue, will be, it is claimed, the finest house of its kind in the world. The total cost of its erection will reach nearly a million dollars. It will be eight stories high, and the gymnasium proper, situated on the fourth floor, will be 116 feet long by 58 feet wide. This floor also provides a boxingroom and a wrestling-room and the gallery, which is really the fifth floor, contains a running track, sixteen laps to the mile, and 7 feet wide. Adjoining the track are fencing, measuring, and lounging rooms.

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**

When the curtain falls on the last act of "Under the Red Robe," which received its initial American performance at the Empire Theatre, N. Y., during New Year's week, one is undecided to whom to ascribe its success,-to Stanley J. Weyman, author of the story; to Edward Rose, author of the stageversion; or to Charles Frohman and his company of players. Let the prime honor rest where it may, one thing is certain, that Edward Rose has merited the congratulations of the entire theatrical world for this his second preeminently successful dramatization. His exclusion of much useless material and the substitution of new matter has enhanced rather than detracted from the original. He has demonstrated clearly his mastery of stage-technique and his ability as a playwright. Of the actors who interpret the drama, William Faversham as Gil de Berault-gambler, spy, lover, and gentleman, and Viola Allen, as Renée de Cocheforêt, do artistic, dignified work.