HASTINGS, Minn., 3-22-87. EDITOR OF THE THEATRE: There was a statement in your paper, and which has been extensively copied throughout the United States, that some gentleman, a correspondent of yours, had written you that Hon. Ignatius Donnelly had written him a letter, in which he said his discovery of a cipher in the Shakespeare plays, proving that Francis Bacon wrote them, was a delusion. The friends of Mr. Donnelly here are desirous of knowing who the party was that made such a false statement. They do not want to publicly brand your paper with having invented the statement without any foundation whatever; and they would like to know who the party was who gave you the information, if any such there

was.

Your reply will greatly oblige me.

Very respectfully yours, L. P. Kilpatrick. I do not give the addresses of our contributors, but should like to hear from Mr. Baxter, whose name was signed to the article.

**

AT THE MORTON HOUSE: Enter decayed actor of the anti-creed period. He approaches the bar with Irving lope, and with a voice of McCullough ponderosity: "I-ah, I-ah want something, sirrah, that will fairly caarve its way down!"

White-costumed French attendant, with singular trepidation: "Parrdongh, we have noting but ze best!"

Decayed actor: 'Ah-ah (this with a snarl like a dog wrestling over a bone, but truly Irving-like) well, then sirrah, bring me some carbolic acid and ger-round glass!

**

ALTHOUGH he is still called "le jeune maître," Saint-Saëns is fifty-two years old.

* **

EDMUND YATES'S Parisian correspondent says that Nilsson did well to celebrate this marriage privately, for the Comte de CasaMiranda is not a husband to be proud of. He is not a brilliant young Romeo, or even a man in the prime of life, but an old viveur, an exhabitué of the Cercle de la Presse, and a man about whom the boulevardiers have many queer anecdotes to relate.

* *

ON Thursday afternoon an "authors' reading" took place in the Boston Museum for the benefit of the Longfellow Memorial Fund, for which about $14,000 has been secured, and $7,000 more has been subscribed conditionally

upon raising the balance. Mr. W. D. Howells suggested the readings, and these have added about $5,000 to the fund. The audience represented the most distinguished families of Boston and Cambridge. The curtain rose, disclosing a drawing-room scene, through the opening at the rear appearing a conservatory. About the room were chairs and sofas, near the centre was a large oval table, beside which sat Mrs. Julia Ward Howe. At the extreme left of the semi-circle extending across the stage was the Rev. Dr. Edward E. Hale. By him sat James Russell Lowell, beside him Dr. Oliver Wendell Holmes. On the sofa behind the Doctor was Colonel Thomas Wentworth Higginson. At the extreme right was Samuel L. Clemens. Beside him was George W. Curtis, and next were Thomas Bailey Aldrich and William D. Howells. As the Tribune suggested, those who are familiar with the engraving representing Washington Irving and his friends, can picture to their minds the attitudes and expression of this group of American authors. The only particular in which the latter failed to be the full counterpart of the former being in the lack of the single central figure to unify the whole. This was supplied in the imagination of all who could see the presiding spirit that was present in the entire conception, that of Longfellow. Around that idealized personality, in fancy at least, the essayists, wits and poets that formed the semi-circle on the stage may be said to have been grouped, and without it, this singular and perhaps unparalleled congress of authors in New England could never have been gathered.

**

MR. JOHN GILBERT is not yet well enough to take any active part at Wallack's, and much concern is expressed for him by the members of the company. We cannot afford to lose the dear old man yet, but it is safe to say that his stout heart and iron constitution will pull him through.

APRIL 1st witnessed the close of the National Opera season at the Metropolitan. It has been, artistically, very successful. The production of "Nero" has been a revelation, which should at once guarantee the success of this American enterprise.

**

WILSON BARRET will now be seen in New York as Hamlet. His methods and manners in this character will afford much opportunity for dissection by the critics, which will doubtless be watched by the intellectual newspaper world of Boston.

Trophonius.

ART CHAT.

The Stewart pictures have been sold. Mr. Kirby did it (and in a dress suit too) and every square foot of room in Chickering Hall was occupied. Among the buyers were railroad, real estate, oil, and money kings. Millions and millions were represented in the hall.

The bidding was not brisk, the buyers seemed to have come with set ideas as to how much they would pay, and would not be moved by the auctioneer.

Friday night was field night" of the sale. Two surprises were in store for the spectators. The first occurred at twenty-five minutes of ten o'clock, when Mr. Kirby reached No. 225 on the catalogue, namely, The Children's Party or Cat's Christening" by Ludwig Knaus. Now, the highest price paid for any picture on the first night's sale had been the sum of $10,500, which Mr. Henry Hilton gave for Meissonier's "Charity;" and the second night $16,000 had been given for the same artist's "At the Barracks" by Knædel & Co., while Mrs. J. Lawrence Smith had paid $17.800 for F. August Bonheur's "Environs of Fontainebleau”, and on Friday, previous to reaching the Knaus, $11,000 (for Tryon's "Landscape and Cattle ') had been the highest price of the evening. Gérôme's celebrated "Gladiators" had been passed at $11,000, remember; Munkacsy's "Visit to the Baby" at $8,700; Fortuny's "Serpent Charmer at $13.000, and Piloty's “Thusnelda” had gone for but $3.900 at the first night's sale. What, then, was the surprise of the audience when the applause which greeted the reception of Knaus's "Children's Party" was followed by a bid of $5,000, which was quickly succeeded by $1.000 bids, till it reached $15,000; $18,000, was disputed by hundred dollar bids at $20.000, and was knocked down for $21,300! to Mr. J. K. Fletcher, who was buying for Mr. Jay Gould. This painting, while the work of a now famous artist, though full of human interest and thoroughly well executed, is not painted in the artist's latest manner being dated 1868, and is in no way equal to the other paintings, which at the late sales have brought such enormous prices.

"

**

Fortuny's "The Beach at Portici" was bought at the sale of the deceased artist's effects by Mr. A. T. Stewart, for $13.000. But despite the assertion of the auctioneer that the work had certainly increased in value since then, $10,100, which Mr. Stanford White bid, was the highest figure which could be obtained for it.

Meissonier's "Friedland, 1807," was brought forward amid rounds of applause. For a mo

ment the hall buzzed with conversation, and probably every person made to his next neighbor, or in sotto vece to himself, a calculation of what sum the picture would bring. The picture was bought by Mr. Stewart for about $60,000, and is supposed to have cost, export duties and such items included, by the time it was placed in Mr. Stewart's gallery, some $10,oco more. Would it bring more or less than the picture cost? This is, perhaps, the most celebrated of modern paintings. Munkacsky's 'Christ before Pilate," which has, perhaps, a wider, but less substantial reputation, has just been sold for a sum of over $100,000 (according to the late owner's statement) to John Wannamaker, of Philadelphia. Would the Meissonier do better than that? Renewed applause greeted a bid for $50,000.

"

The figures traveled quickly into the $60,000, and after "fair warning the numbers ceased at $66,000, and Mr. D. K. Fletcher had the work..bidding, it was at first supposed, for Mr. Jay Gould, but it was later known that he represented Mr. H. Hilton.

The event of the evening was closed by the sale of Rosa Bonheur's "Horse Fair" to S. P. Avery (as an agent) for $53.000. The art world was later delighted to learn that the buyer was Mr. C. Vanderbilt, who presented it to the Metropolitan Museum next day. Thus ended the sale of the Stewart pictures, with a grand total of $513,800. The pictures at the Morgan sale last year brought $885.300. Those of the Seney sale, $406,000, the Johnston sale, resulted in about $328,000, statuary included.

NOTES.

THE spring Academy exhibition will open on Monday, April 4.

THE late Alphonse De Neuville never made a more vigorous composition than his famous Storming of Tel-el-Kebir," now on exhibition at Knoedler's Gallery. The picture, which was painted for the Fine Art Society of London, represents the Highland regiments, the 75th, known as the Gordon Highlanders, the 79th and the 74th, and also the brave "Black Watch," as they assault a battery (half are in a trench and half are mounting the parapet), in the early part of the morning of September 13, 1882.

The work is full of dramatic yet realistic groups. The soldiers are not mere costumed models, but real manly types. About a score of portraits are introduced. The group of the wounded Capt. Fox, being upheld by Private MacGregor, is very finely painted, and cut out of this large canvas, would make a famous picture of itself. The freedom of the execution is a great relief to see after the stiff and dry treat

ment of the Meissonier and Détaille in the Stewart collection.

In the water-color room down stairs Knoedlers show also some seventeen drawings by Edouard Détaille, which were made for a recent Parisian publication on the costumes of the French army from 1796 to 1859. They are chiefly in pen and ink, though in some the first pencil sketch is allowed to remain, very frequently a wash is brought into use very effectively, again Chinese white is employed and several of the designs are touched up with water-colors. The grace of those figures and their prettiness is exceedingly interesting.

MR. KLACKNER, the print publisher of West 17th Street, is about to publish a very important etching by Mrs. Anna Lea Merritt. It represents a reclining figure of "Eve Repentant." Mrs. Merritt is about to return to England, where her reputation as a portrait painter and etcher is of the highest.

Among Mr. Klackner's latest etching publications are a large plate by Peter Moran, entitled "The Lowing Herd;' Golden Days," by Ben. Lander, with a very fine sky. (Mr. Lander could easily "wake up some morning and find himself famous," if the day before he would etch a very large plate in which there were no figures, and but very little lowland landscape, but a grand expanse of sky overspread with bright sunlit cumulus clouds. Take my advice, Mr. Klackner, and get Mr. Lander to make you such a plate); a landscape with sheep, by Share, from a painting by Carleton Wiggons, rather poor than otherwise.

MR. FRANK FOWLER, has just completed a life-size three-quarter length portrait of the late Samuel J. Tilden, which is the outgrowth of a study made some five years ago, from life, when Mr. Tilden gave the artist a few sittings, though not sufficient to enable him to complete his work. But an order for the portrait started Mr. Fowler at his work again, and the result is in every way satisfactory. The pose is easy and dignified; Mr. Tilden has his left hand in his overcoat pocket, in his right he holds his eye-glasses, and he appears in perfect health. The work is fine in artistic qualities, the technique is strong, and resembles that of the artist's previous success, the portrait entitled "At the Piano."

MESSRS. MOORE AND CO. will sell very soon, the art possessions of the actor and playwright, George Fawcett Rowe, who is about leaving this country for a two years' trip abroad.

A sale of the paintings and engravings of the late Asher B. Durand, is soon to take place at Ortgie's Gallery, and Wunderlich promises a small display of the works of Elihu Vedder. At Reichard's Gallery, some paintings, by the late George Fuller, of Boston, are on exhibition.

*

AT the last monthly meeting of the Rembrandt Club in Brooklyn, at the residence of Mr. Bartlett, in Remson Street, Mr. Chas. H. Miller delivered a lecture on art, of which the Brooklyn Eagle says: “Was not so much of a lecture as a scrap-book full of observations, word photographs and reflections of a student, a keen observer, an artist and a traveler. '

Mr. Miller is one of the few artists whose mind is not entirely absorbed in his own work, and his taste limited to his own art. He loves the sister arts of painting, music and literature, and his own studio is not the only spot that has attraction for him, whenever he hears of a good picture in New York, he cannot rest till he has seen it.

His book, "The Philosophy of Art" (W. R. Jenkins, publisher), put forth a few years ago under the nom de plume of Carl De Muldor. was a very strong plea for more thought, more interest in art. The muse has again moved Carl De Muldor just lately, and here is the result. I consider these lines very graphic:

A FEW WORDS FROM AN ACTOR.

EDITOR OF THE THEATRE:-Much has been said by outsiders, or latty, of the present condition of the American stage and the people who obtain their living as its disciples, but rarely do you see an article, or read an opinion, from the pen of those most concerned, who should, without doubt, know more about it than any one else I mean the actor himself. He is, I am aware, but the very smallest and least item in the theatrical business, and is, consequently, of very little consideration to any one but his landlady or tailor. However, a few words from one of that patient and long-suffering community, I trust may find favor in your eyes.

I read a few weeks ago in your bright and interesting publication, a reference to the "lack of study and application to the art, by its present exponents; and the writer speculated as to How were the places of Booth, Jefferson and others, to be filled by the coming race of actors?" This, at first sight, seems a feasible statement and a most plausible conjecture. To the former, one could readily reply in its defense" The combination system knocks all study on the head." The fatigue of travel from town to town, the discomfort of the temporary homes, destroy the application of the would-be student, and deprive him of such means of research or inquiry as are available to his more fortunate and stationary brother. But even this is a poor excuse, and I am sure your correspondent can have very little knowledge of the inner workings of the dramatic world, to make such a statement.

From my personal observation of some years, in many companies, and in all quarters of the United States, I have never found a single company but which numbered amongst its members two or more students, who, with a very little persuasion, could easily induce the others to follow suite.

A few years ago, I was in a combination, traveling with one of the chief successes of the day, playing one-night stands, of which we filled about twelve weeks. Now this, to the individual who is accustomed to eat daily at the same table, to sleep nightly in the same soft bed and cosy room, from January to Decembermust naturally appear very distracting and uncomfortable. True; it is. But "necessitas non habet legem," and although it takes some time to adapt oneself to the circumstancs-yet, like the proverbial eel, we eventually get used to it, and can not only find instruction and enjoyment from our peregrinations, but time to improve our minds and study our profession. During the twelve weeks mentioned, it was almost our daily custom to visit the stage of

the local theatre or hall, and there, to the astonishment of the natives, amuse ourselves by spouting Shakespeare. Each taking a part, in a given play previously committed to memory, and giving a faithful rendition, according to his or her conception of the character-to be criticised or set right by the older and more experienced members. Upon Sunday evenings, when not on the road, we usually met in one room, to argue and read aloud, spending a few hours together for the sole purpose of improvement, during which time, by general consent, all "funny stories" or "personal experiences were eschewed. This I am sure was to our benefit, and there are men to-day, in New York, who can speak with delight of our "Morning Performances" and "Sunday Nights." As can readily be imagined, we were, of course, unmercifully "guyed " by the infidel who only consented to live during a week of discomfort, for the pleasure of the ghostly visitation on Saturday (if the elements were favorable).

Out of a dozen actors to be seen on the Square to-day, six of them, at least, will have a play at the bottom of his trunk-a play, which is the idol of his heart, the seed of the great fortune to come, and in the development of which, many a weary hour has been spent and many an aching head acquired. Most are bad, some indifferent, few good,-but nevertheless, good, bad or indifferent, they are evidences of the application and study of the poor abused actor, whose only incentive to work, is the hope of Fame. For very little encouragement does he receive to-day from the manager, (the man who ought to be the godfather of art,) either in praise or pennies.

Where are the critics of Johnston's time? who not only expatiated upon the merits of a play-but in a measure, taught the actor, as it were, what to eat, drink and avoid "-pointing out his errors and giving him a full measure of praise for his flashes of genius. Critiques, to-day, referring to the stock actor, are either good or bad; without reason for either. But the great star, who comes heralded from foreign lands, and whose errors or graces, mean so much a column to the critics, is credited with reasons he probably never thought of, and condemned for trifles, not worthy of recognition.

There are one or two godfathers, and one or two only in the United States, amongst the legion of managers, who, but for their efforts and discernment (God bless them), the profession, as an art, would go to the dogs-for in the eyes of the genus homo" manager, the actor, as I said before, is the last consideration as I can readily prove. A play is written-models made-scenery painted-printing got up-music written-a theatre engaged-a

treasurer or business man hired-when, lo and behold! it dawns upon the "godfather," that some puppets are necessary for the production, and at the last moment actors are gathered in -not for the amount of genius they are known or supposed to possess, but because some peculiarity of disposition or person, happens to fit the part; when it is a well-known fact that to act "6 oneself," or naturally, is the hardest thing for an actor to do.

Then, again, in regard to remuneration-the source upon which success depends, is always the last upon the pay-roll. Before Mr. Author touches paper, he receives so much down and balance on completion. Scenery is generally painted on the same terms. New and expensive printing is settled for, either in advance or C. O. D. Music paid for before production. The theatre either gets "first money" or a cash deposit for rent-the treasurer can pay himself. Hotel next.

Baggage transporta

tion next. Railroad fares next-and if there is any left-why, throw a few crumbs to the poor actor, on the Tuesday morning of the following week. There are exceptions, of coursebut this is the rule, especially of traveling companies.

An instance of managerial encouragement came under my observation in one of the few stock companies of this country. A young actor of some ability, worked for two seasons, playing no less than seventy different characters, many of which were original creations, receiving the commendation of the press and the approval of the public, as an established favorite. He naturally, as in every other business, wished to increase his income in accordance with the quality of his goods, and humbly asked for a small increase of salary for the following season. The "godfather's" reply of— bad season, So many applications,' easily

44

64

fill your place at one-half the money," etc., etc., etc., soon convinced the petitioner, that he was but a unit in art's temple, and his genius, at the mercy of godfather's chequebook.

A last word-in reference to the social improvement of my brothers-evidence is seen every day of the change, and money, formerly spent at the bar of Billie this, or Tommy that, now goes into house or land, and many a second-rate actor can speak with pride of his place here, or his farm there, where during the long summer vacation, instead of clerking at some watering place, he takes his well-earned rest in the society of his wife and babes, daily praying for the time, when the Lion shall lie down with the Lamb, and manager and actor shall be as brothers-with but one interest, the advancement of art. The actor, grateful for the managerial pocketbook, and the manager,

ready to acknowledge and respect the genius that helps to fill it.

Trusting I have not bored you with these old truths,

I have the honor to be,

Respectfully yours,

"A Party by the name of Johnson."

FROM THE PRESS.

MANY FRIENDS.

Buffalo Courier-Yesterday THE THEATRE began its second year. This illustrated weekly magazine has found many friends. It is a record of the important events of the stage, and touches matters in art, music, the drama and its literature. This number contains a portrait of Kyrle Bellew, several full-page illustrations of Verdi's opera of "Otello," and of Dumas' great play of “Francıllon."

AN INTERESTING FEATURE.

New York Star.-That clever little magazine, THE THEATRE, has just entered on its third volume amid the hearty good wishes and congratulations of its host of friends and admirers. Pictures from the presentation of Verdi's "Otello" and Dumas' " Francillon" are promised with the next number. These pictures, published by THE THEATRE and illustrative of the various plays as they are given by the different companies, are a new and interesting feature in dramatic journalism, as we know it here.

CONSTANTLY IMPROVED.

Bridgeport Standard.-THE THEATRE has constantly improved since its first appearance a year ago. The maga zine form is very desirable, for so good a weekly paper should be bound and placed on the library shelf for general and frequent reading. Drama, music, art and literature are the subjects treated upon and the articles are almost entirely original. The very best reproductive processes are employed in the preparation of plates for THE THEATRE, and it is cheap at ten cents a copy. Send to THE THEATRE Publishing Company, 26 West 32d Street, New York, for a specimen copy.

AN ORIGINAL IDEA.

Alfred Trumble in the Journalist.

THE Commencement of the third volume of THE THEATRE brings also the beginning of a translation of Dumas' newest play "Francillon." The entire first act is given. There ought to be a suggestion of value to THE THEATRE in this excellent idea Why not give every week some similar work, with a preference for one act farces and the like that could be printed entire in a single issue? Nothing would give such character and interest to this pretty weekly record of the stage as a departure that is so original in itself, and so thoroughly in keeping with the purpose of the paper.

EXCEPTIONALLY EXCELLENT.

Its

Metcalf Russell in the Boston Times. THE THEATRE-that exceptionally excellent dramatic weekly of New York-has just begun its third volume. Its present appearance bespeaks prosperity, for which I am most heartily glad. THE THEATRE'S aims are too high not to win approbation from all honest patrons of dramatic art. criticisms are fair and to the point; its special articles breezy and full of good suggestions; its gossip clean and entertaining, and its illustrations quite above the average; moreover, its Boston correspondent writes a good letter. With such a list of good points to recommend it, its success is easily accounted for. But I fancy to Mr. Deshler Welch, its editor and manager, belongs the lion's share of praise, of which I am fully assured he is well deserving.

PLEASANT IN TONE.

Whitelaw Reid in The Tribune.

"THE THEATRE," a weekly publication which tells its purposes in its title, is an agreeable addition to that portion of the press which confines its attention to dramatic subjects. It is pleasant in tone and gives much interesting and pertinent gossip. Its illustrations form no little part of its attrac

tiveness.