painted Miss Alexander' and 'Off Val- war. It is fortunate, perhaps, that some of the finest of Louvain's more portable works of art had been previously taken from her. Cross Roger van der Weyden's Descent from the was ceded to Philip II. and is in Madrid; the astonishing carved oak retable in seven compartments by Jean Borman, which was formerly in the church of Notre Legend of Otto II. (painted for the Hôtel Dame du Dehors, is at Brussels, where also are Dierick Bouts's two panels of the de Ville) and Quentin Matsys's series of panels of subjects relating to St. Anne and St. Joachim. The Last Supper' by the latter artist was accounted the chief treasure of the Cathedral of St. Pierre, but was sold to the Brussels Museum for nearly 10,000. St. Pierre still had in its ambulatory The Last Supper' and the perhaps finer 'Martyrdom of St. Erasmus of Dierick Bouts, which long passed as by Memlinc, and we earnestly hope that these paintings have escaped the general ruin. MUSIC The Evolution of Harmony. By C. H. The first twenty-nine in the series are paintings and drawings by the artist, and include the half-length in a grey jacket, formerly in the collection of the late George McCulloch; the "Brown and Gold" portrait, belonging to Mr. C. W. Vanderbilt; the two versions of the delightful interior with figures, known as Whistler in his Studio,' which were a feature of the Whistler Memorial Exhibition in 1905; and two early portraits, one of which is in the National Gallery of Art, Washington, while the other is in the collection of Mr. H. R. Ickelheimer of New York. The last-named picture, which is reproduced here for the first time, came to light 8s. 6d. net.) THE RAZING OF LOUVAIN. only last spring; it represents Whistler THE author, after many years of experismoking, and belonged originally to a THE forebodings of Mr. C. J. Holmes in the September number of The Burlington ence in teaching harmony, has found the French family, whence it passed into the Magazine have, unfortunately, been already old methods of studying "unsatisfactory hands of various dealers, and was finally justified, though the particular town which both from a positive and a negative point acquired by its present owner. There has suffered most severely-Louvain-did of view," and in the course of this book was at first some question of its authen- not, oddly enough, appear in his survey of he gives instances which strengthen that ticity, but there can now be little doubt treasures threatened by the The dissatisfaction. The forced meanings on the subject, as, to judge from the attraction of Louvain for lovers of art which have been given to chords to fit consisted not so much in its possessing parphotograph, the painting is thoroughly ticular masterpieces of capital importance some theory are pointed out (the Day characteristic of the master in his early as in the multitude and variety of archi-theory of two roots for the chord of augmanner, when he produced the Piano tectural monuments which mark continuity mented 6th is a notable instance); picture and other charming works. of culture through a long period of years. theorists have taken old figured basses Whistler, it appears, sat to many artists, The Hôtel de Ville, built by Matthieu de to express something different from and he was a favourite figure with the Laens between 1448 and 1459, is stated that which they originally meant. Morecartoonists. Portraits and sketches exist (in more than one report) to be still standover, they have treated essential and from numerous hands, including Fantin- ing. It is, perhaps, the best known of all unessential notes alike, although in anabuildings of its type, confessedly florid in Latour, Boldini, Helleu, Rajon, Mr. Wil-design, but charming in its grace of detail, lyzing chords the latter ought, of course, liam Nicholson, Mr. W. M. Chase, Du in spite of much restoration. Frequently to be eliminated. Dr. Kitson gives only Maurier, Aubrey Beardsley, and, of course, the original stone carving, where it is prea few extracts from well-known comMr. Mortimer Menpes and Mr. Walter served, is of great vigour and breadth, "full posers in the chapters on the Higher Greaves. Whistler himself regarded Mr. of ingenuity in devising an easily legible Dominant Discords, concerning which Nicholson's coloured woodblock as one narrative style in a few massive planes. there has been much difference of opinion The sculpture has thus occasionally (e.g., of the most successful, and indeed it is certain corbels) an economy and dignity among theorists; yet by such illustraadmirable, and, though unpretentious, beyond what the architecture as a whole tions students would be better helped to holds its own among more ambitious can claim. The church of St. Pierre is rather remember the particular points touched works; this woodblock forms one of the earlier in date, and is reported as badly upon than by dry chords. For instance, illustrations to Mr. Gallatin's book, as damaged, so that fire has probably devoured on p. 283 an "irregular resolution of the does also a hitherto unpublished dry; and 1441 by Nicolas de Bruyn and Gérard example. But on p. 249, in referring to the fine choir-stalls wrought between 1439 7th "is mentioned with a plain two-chord point by Boldini, but the large and Goris. The exuberant eighteenth-century brilliant portraits by this artist and Mr. pulpit may be less regretted, though it various resolutions of a 7th, he gives the William Chase are not reproduced. At was in its way a perfect type of its ornate very same example (except in key), and the end of the book some twenty camera kind. states the fact that in Handel's time it portraits of the artist are also chronicled. was common; moreover he adds an example from The Messiah,' which would be recalled to the memory of an attentive student whenever he happened to hear It is difficult to say how much of the real Whistler is represented by the sum total of these portraits. Everywhere we see the superficial aspects of the master: we have in these pictures Whistler as he chose to face the world, the Whistler of The Gentle Art of making Enemies,' cynical and defiant, with monocle and white lock, the idol of his followers, and the bête noire of Ruskin and the Academicians. But nowhere do we get a suggestion of the charming and lovable Whistler his friends tell us about, or of the gentle and fine-souled artist who The façade of St. Michel offered, again, an full of old-world charm. The church of St. | the oratorio. The possible modulations by means of the chords of diminished 7th are mentioned, but with the caution that all are not necessarily judicious. Modern composers have made excessive use of such means, in striking contrast to Bach. These chapters on the Higher Dominant Discords are instructive. Dr. Kitson shows that all-the 9th, the 11th, and the 13th-can be resolved, while the rest of the chord remains, and therefore that in their first stage of evolution they were really suspensions or appoggiaturas." This is undoubtedly the right way of studying discords of all kinds; for that was their origin. History is worth more than theories. | The makeshifts, double roots, expedient false notation, &c., found necessary to legalize certain combinations of notes, compare unfavourably with the more natural method here advocated. Any one who has read the sections on these Dominant Discords in Macfarren's Rudiments of Harmony' will understand this. The final chapter, 'Modern Tendencies,' is specially interesting. Dr. Kitson recognizes that art cannot remain at a standstill, but he reminds us that it may not be necessarily always advancing." That is wise, for there is a strong tendency to regard anything new as progress. He believes that there will always be men with sufficient personality to use old diatonic material in a purely distinctive way, and names Sir Hubert Parry and his constant use of diatonic discords " moreover, he gives some apt illustrations of his new uses of them. The quotations from César Franck, Debussy, and Ravel are excellent. The attempts that are made to account for some of their strange combinations by the expedient of deriving them from tonic, supertonic, or dominant chords are, as he says, unnecessary if they are merely the outcome of appoggiaturas, chromatic passing notes, &c. 66 66 Dr. Kitson has something to say regarding composers of the present day. They can take a step forward, but it "would necessitate the use of quarter tones,' an idea already in the air-or a step backward," a dangerous one if taken deliberately, or adopt the "Via Media," i.e., the formation of new scales from the fusion of the diatonic and chromatic formulæ.' This course is occupying the attention of many composers. We are in the middle of a period of transition," says the author, and there is, we believe, a strong tendency to try to invent something new. Bach and Beethoven first wrote on the lines of their immediate predecessors, and when they did move forward, it was done unconsciously. NEW PUBLICATIONS. MESSRS. STAINER & BELL. Three Pieces for the Pianoforte. Feu Follet: Etude for the Pianoforte. Both by Joseph Speaight. 1s. 6d. net each. The Three Pieces are short. No. 1, Evening Song,' is soothing and varied in rhythm; the final cadence, though modern, is quite clear. Old Dance' and 'Paspy' are both pleasing; the last is the longest and best of the three. 'Feu Follet is a capital study for the fingers: as music, however, it is of little interest. In the Hartz: Suite for Pianoforte. By Herbert W. Wareing. ls. 6d. net.—This Suite consists of four short numbers. They cannot claim to be very original, but 'Evening in the Valley' and 'Farewell to the Mountains,' the best of the four, are engaging. Grandeur. By Charles V. Stanford. 1s. 6d. net.-The poem by Mr. W. M. Letts is set by the composer with directness and telling simplicity. The Cavalier's Escape. By Martin Shaw. 1s. 6d. net.-The music, with its realistic setting of the poem by W. Thornbury. accompaniment, is a clever and effective (1s. 6d.), is a smooth, expressive setting of The Water Lily, by Hannah Bryant a poem by Von Platen. The original text, and an English version by C. F. A., are given. 6 MESSRS. NOVELLO & CO. Impressions (L'Almanach aux Images). By G. Ferrari. 1s. This is a vocal suite for soli and chorus of ladies' voices. The poem is by Tristan Klingsor, the English version by Mr. W. G. Rothery. The opening number, Chanson de Printemps,' is smooth, pleasantly written for the voices, and provided with a tasteful accompaniment. There is nothing formal in the music, and this is partly achieved by clever changes of measure. In Le Mendiant,' for mezzo-soprano or baritone, the music is modern in character, yet the composer expresses himself without any apparent sense of labour. The temptation nowadays is to lay on the harmonic colour too thickly. 'Le Marchand de Sable' is dainty, and the soft closing enharmonic cadence new and effective. Le Violoneux' and the final number, 'Marguerite au Rouet,' are equally attractive. Falmouth. Poem by W. E. Henley. Set for Double Chorus Unaccompanied, or with Pianoforte Accompaniment, by R. T. Woodman. 1s. The sea, whether in calm or in storm, has attracted many composers, and we have here an excellent setting of Henley's poem. Short phrases, sung at the beginning by tenors and basses of the first choir, colour well the words of the sailors, while the gently moving notes of the second choir suggest the rocking of ships in the bay; realism, however, is never rampant. There are some welcome modern touches in the part-writing and in the modulations. The music is not easy, so that, although the optional pianoforte part is not always a mere doubling of the voice parts, it would to many choirs prove a welcome help. Of Organ Transcriptions we have three from Parsifal': the Prelude, The Good Friday Music, and The Transformation Scene, all by Dr. George J. Bennett (1s. 6d. net each). There are movements in instrumental works which, however cleverly they may be arranged, are spoilt by transcription; among such those under notice would not, however, be included. Dr. Bennett has managed to present the music effectively without making it difficult. "The Transformation Scene' will be very welcome, for at the opera the eye is more busily engaged than the ear. Dr. A. Herbert Brewer has transcribed Berlioz's Hungarian March (2s. net). This piece is bound to lose much of its life and brilliancy, but Dr. Brewer has shown no little skill. Organists not strong on the pedal-board will be thankful for the ossia indicated. Musical Gossip. We suggested a fortnight ago that a work from the pen of César Franck would be appropriate at the present time, and for last Saturday evening's programme of the Promenade Concerts Sir Henry J. Wood selected, his delightful symphonic poem Les Éolides,' which he wrote in 1876. conne,' scored by Sir Henry J. Wood, The Belgian national air 'La Brabanwas also given. This dates from the revolution of 1830. It was composed by François van Campenhout, a native of Brussels. He appeared (as tenor singer) on the stage for many years, and also wrote operas, songs, and church music. WE heard last spring at the Eolian Hall some music by Béla Bartók which sounded to us vague and peculiar, but that was not Op. 3, given for the first time last Tuesday the case with his Orchestral Suite, No. 1, evening at the Promenade Concert under the direction of Sir Henry J. Wood. The There is no lack of melody, for it conmusic is full of rhythmic life and colour. sists of Hungarian folk-music, or clever imitation thereof. There were, it is true, some peculiar sounds-foreshadowings, possibly, of what the programme note refers to as Bartók's latest style." These, however, did not interfere with the pleasant impression created by the music. Of the five movements of the Suite three are very animated; the first two are the best. we may judge after a first hearing, two or three movements would prove more effective than the whole Suite; for, after all, the thematic matter, if interesting, is coloured rather than developed. The plaintive theme of the Moderato has charm, and there is expressive, but the movement is rather long. much in the rhapsodical Adagio that is The Moderato, by the way, reminded us in places of Schubert, who was fond of Hun-garian music. The Suite was well performed and well received. If Monday evening, when Offenbach's popular Tales of Hoffmann' will be performed. The Tales' will be repeated at the matinée next Saturday. Gounod's Faust will be given on Tuesday, Verdi's Aida' on Wednesday, Mozart's Magic Flute' on Thursday, Carmen on Friday, and 'Il Trovatore' on Saturday. The conductors will be Messrs. Walter van Noorden and Eugene Goossens. 6 6 MR. ARTHUR SPIZZI announces a season of opera and opéra comique in English at the New Middlesex Theatre, Drury Lane. Next Monday will be the opening night. The repertory includes Donizetti's Daughter of the Regiment,' Gounod's Faust,' Il Trovatore, Carmen,' and 'Rigoletto.' Artists from various opera companies at home and abroad have been engaged, and there will be a chorus of fifty. The conductors will be Messrs. Hamish McCunn and Harrison Frewin. Arrangements have already been made for four weeks, but, if sufficient support is forthcoming, the season will be further extended. DRAMA 6 OUTCAST' AT WYNDHAM'S. HITHERTO Mr. H. H. Davies has given us pictures of society like The Mollusc' and Doormats,' which are not devoid of morals, it is true, but lack the dismal earnestness of the latest school of drama. His psychology may not have been deep, but his humour has been easy and delightful. Now, in Outcast,' Mr. Davies attacks serious problems of love and conductthe things which modify profoundly the whole course of a life. Geoffrey (the is singularly indifferent to programme surnames) is the protagonist throughout. At the outset he is rapidly going to the devil through drugs and drink, for Valentine, whom he had known from girlhood, has jilted him for a rich husband. Two friends, a gay "nut " and a serious person, fail to comfort him. That difficult task is, however, achieved by Miriam, a woman who, introduced to his flat from Piccadilly by the whim of the moment, becomes his mistress, and stops him on the downward path. He returns to his old, cheery self, and does well in business, but the pair feel the difficulty that they only go to places where they are not likely to be seen together by respectable society. It is the story of Mrs. Tanqueray over again. The mistress hankers after marriage and the delights of ordinary social life. Geoffrey has treated her generously, but he still loves his old flame, and when Miriam knows that he has arranged to meet Valentine, she falls into a passion of jealousy. He insists on not being interfered with, and decides that they must part. So far we have a problem posed with skill in three acts. The fourth is far from convincing as a solution of it. Valentine (Grace Lane) has left her husband and throws herself into Geoffrey's hands, and both express their love without restraint. They are eager to go off together; but Miriam, who intervenes in the extreme of distress, makes such an impression that Valentine returns to her husband. Geoffrey has an offer of good business at Buenos Ayres. He will go there with Miriam, who will "cleave to him," but does not want to be married now. The reasons offered for this change in the two women appear to us inadequate, and Valentine in particular does not make her action credible. The play, however, should certainly be seen for the acting of Ethel Levey. Her wonderful go and vivacity were established for London audiences in Hullo, Tango!' but as Miriam she is a real artist, not only in clever little touches, but also in the tense emotion which is spoilt by exuberance. Mr. Jules Shaw gives an excellent little sketch of a hall-porter; and the two friends are sufficiently varied. The solemn one has the monologue of advice which used to be the speciality of Sir is dull, and makes no appeal to us. Charles Wyndham. But here the lecture Mr. Davies has not throughout the certainty of touch which belongs to his light work, but his play is striking enough to make us hope for it. Dramatic Gossip. 'MY AUNT,' now occupying the Vaudeville, is a farce derived from the French, and deals, as might be expected, with a series of awkward situations in which young men are compromised with young women. Messrs. and Douglas Hoare, the Sidney Blow ness, and produce a light and amusing play. adapters, are now experienced at the busi'My Aunt,' however, does not seem to us so well sustained in liveliness as some of its predecessors-partly because the Aunt (Lottie Venne) is absent r om most of the second act. How will the War affect your Investments P THE FINANCIAL Review of Reviews The Leading Magazine on Which contains SPECIAL ARTICLES BY DISTINGUISHED AUTHORITIES DEALING WITH THIS IMPORTANT QUESTION She plays with all her old vivacity and skill, and is excellently supported by Mr. A. W. Baskcomb, who has to bear the brunt of the complications and difficulties. He has not much to say, but his air of resignation to fate is admirable. On Yvonne Garricke, French actress, is attractive in appearance, and, when her English has become less mechanical, ought to be a distinct success. 'MY AUNT' is preceded by a little piece by John Kendall entitled Laughter in himself on being funny reduced to ridicule Court.' It exhibits a magistrate who prides in his home and severely lectured by one of his victims. The magistrate rejoices in a collection of press cuttings, and it is suggested that the newspapers foster this kind of wit by giving it favourable notice. NEXT TUESDAY' The Impossible Woman,' a comedy by Mr. Haddon Chambers, founded on Anne Douglas Sedgwick's 'Tante,' will begin its career at the Haymarket. Every Copy of the September issue contains a Coupon entitling the purchaser to FREE INFORMATION regarding any Investment. 1/- net Sale at all Bookstalls or from the Publishers 2, Waterloo Place, Pall Mall, London, S.W. THE A CHRISTIAN SOCIAL MAGAZINE. ON the evening of Thursday, the 17th Notes of the Month. Henry Scott Holland. inst., Mr. Cyril Maude will open the Play The War and the Land Problem. house with a comedy in three acts, entitled A. W. Hopkinson. Young Wisdom,' by Rachel Crothers, A Mirror of Modern Life-From Chaucer. which has had a good run in New York. H. Somerset Allan. Madge Titheradge, Lena Halliday, and Mr. The cast will include Margery Maude and The Position of the Eucharist in Sunday Fred Kerr. Mr. Maude himself is, of course, Conrad A. M. Stewart. Worship. not available, as he is playing the chief League for Women's part in 'Grumpy,' the success at the New Maud Bell. Theatre. The comedy will be preceded at Harendra N. Maitra. each performance by a military musical H. M. B. incident called 'On Duty,' arranged by Mr. Harry Grattan. Sybella Branford. ALL members of the Army and Navy in uniform will be admitted half-price to the two theatres just mentioned. 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