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has been arranged for. Automobilists will be delighted to find that the already good roads in all directions have been put in first-class condition by the town.
An earnest of the success of the Pageant is seen in the fact that all seats for the opening performance were subscribed for before the opening of the regular sale of tickets.
The Opening Night, June 21, is designated President's night. Representatives of the Pageant are now in Washington to secure the presence of President Wilson, and they have a like mission at the British embassy. June 22 is Governor's night, when it is expected that all the Governors of the thirteen original States will be present, together with the Governor of Vermont. Military night is the title of the third night, when the commanding officers of the State organizations with their staffs are to be guests.
Because the Pageant of Lexington is planned for perpetuation as a national event, no pains have been spared in the preparation. Actual work has been going on for two years on the Pageant Grounds until now there exists an artfully designed but consummately natural seeming amphitheatre hitherto undreamed of in this country, and rivalling the famous al fresco stages possessed by two or three old Italian families.
In his preliminary work, J. Willard Hayden, Jr., the Pageant master, consulted with Wallace Goodrich, dean of the New England Conservatory of Music; Professor George Pierce Baker, instructor in playwriting at Harvard University, and Frank Chouteau Brown, architect and president of the American Pag
Preliminary to actual work, the pageant grounds were dedicated in the presence of the President and Vice-President of the Lexington Historical Society, members of the Lexington board of board of selectmen, the Daughters of the American Revolu
tion, the Commander of the Lexington Minute Men, and other representative persons. The first sod was turned by Charles M. Parker, the great-grandson of Captain John Parker, who led the brave little band that morning of April 19, 1775, when the British soldiers met their first armed resistance from the patriots, and who uttered that famous phrase, "Stand your Ground! Don't fire unless fired upon! But if they mean to have a war, let it begin here!" A boulder, suitably inscribed, marks this spot on the pageant ground.
First came Livingston Platt, newly returned from two years as artistic director of the State Opera House at Bruges, Belgium, and designer of superb pictorial costume, scenic and lighting effects for Miss Margaret Anglin's revivals of Shakespearean and Greek plays. Long a landscape painter of note, and executant of a notable series of murals for a Belgian chapel that required two years' work in Spain, Mr. Platt brought to his task as well his practical experiences in visualizing every phase of a dramatic spectacle.
Under his direction the transformation of the landscape began on the pageant grounds. From an immense terrace stage, thirty-eight inches high, 200 feet long by 500 feet deep was built up, backed and flanked by groves of trees to provide a frame for the picture and to offer means of dramatic exits and entrances. All this was designed in relation to an elongated pond that borders the grounds on the left of the terrace and valuable for symbolical and naturalistic water episodes. The terrace-stage is now as smooth as a wave-pounded sea-beach and clothed with firm, close knit turf grateful to the feet of the dancers. To complete the vista fifteen fifty-foot trees, weighing two tons each, were moved onto grounds from an adjoining estate and are now a flourishing part of the picture. Mr. Platt has also mapped out the stage
pictures, planned the color harmonies and invented the lighting effects.
Directing the production will be Gustav von Seyffertitz, long a member of the producing staff of Charles Frohman, and steeped in the great traditions of German stage art. It was under Mr. Seyffertitz's direction. that Miss Maude Adams' massive spectacular production of Schiller's "Joan of Arc" was staged in Harvard Stadium, and he has not only worked out the battle episode but will act one of the strong characters.
Miss Virginia Tanner, noted interpretative dancer and teacher of dancing, participant in leading roles of many pageants and author and manager of the Pageant of Machias. in 1913, is to stage the dancing numbers and have charge of the symbolical first part of the Pageant of Lexington, and will also interpret a leading character, Nature. Miss Tanner declares that never before has she had opportunity, as she has in this Pageant, to use all the artistry that she has mastered.
Completing this notable staff are Mrs. Beulah Locke Sherburne, the artist, who has made costume plates for the production, and Chalmers Clifton, an American composer who won distinction while studying music at Harvard, and who since then has been studying and composing in Paris. He has composed music of a new type for this pageant, pure pageant music designed for performance by an orchestra of brass and wood-wind instruments, music suited strictly to the genius of these instru
Mr. Clifton's creation of a Pageant type of orchestration is being watched by musicians with great interest, and it is predicted that he has evolved a subdivision of harmonic art destined to found a new tradition in music history.
To give some idea of notable results to be expected of this striking collaboration of talent the experience of the visitor to the Pageant of Lex
ington may be foreshadowed somewhat as follows:
Those who make their first visit to this historic ground will probably take occasion to reach Lexington sometime during the day. They will be met by a member of the numerous hospitality committee and given in charge of the corps of young men guides, now being coached in every accurate detail, and shown all the noted spots in town without charge.
Toward sunset, with hundreds of others who are now arriving by automobile, street cars and on foot from every direction, they will gather at the pageant grounds. Passing through turnstiles presided over by men in Colonial costume, they will find themselves strolling down the paths of a lovely park beneath quaint lanterns of Paul Revere's day already twinkling as with candles in the gathering dusk.
ACTION OF THE PAGEANT Part I Prelude-Creation of Nature. Episode 1-The Indians. Episode 2-The First Settlers. Interlude I-The Birth of Lexington.
Vision-The Liberty. Episode 3-The Plot at the Green Dragon Inn (Old Boston). Episode 4-Arrival of Paul Revere at Hancock-Clarke House (Lexington).
Dawn of American
Episode 5-The Roll Call on Lexington Green.
Episode 6 The Battle of Lexington.
Introduction Peace Epilogue.
By MINNIE BRYANT BAILEY
What is man that thou art mindful of him?
Into Thy stillness, oh God,
I yearningly pour out my soul's anguished longing
To be touched by Thy truth, and to know.
Dominion and power o'er all things created
Man has, so says Thy Holy Word;
Can any work be called unworthy
To beautify but first to rectify
Within the frail life of the babe
of that statue
Till it reach what men call fullness, Aught can enter which can kill or
mutilate God's image?
Not more than cloud can kill the sun, Or rain and snow put out its fires.
But if the earth babe only digs and delves in earth things,
He then must feel and know the hurt Of bruised, bleeding fingers,
Eyes dimmed by searching in the blackness,
Back bent, and garments soiled and tattered
Till hope at last takes flight,
about him lies the thing he sought
And he, if he but look upon his father's face,
May borrow and reflect light Powerful enough to burn up all the
And leave him free to shape and mold,
After a pattern of God's own, the precious gold.
Who shall say these fleeting temporal things are common?
For if we will but use the light revealed
We see in every act the tiny sparkle of the perfect ore
Which, once we see it, does so grow and fill our vision,
That its earth mold is no more. We even say it never was.
AN EXHIBITION OF PAINTINGS
By MARY L. MACOMBER
ISS MARY L. MACOMBER exhibits at the Guild of Boston Artists, Newbury Street, Boston, a number of canvases typical of her very earnest and interesting endeavor to carry forward the pre-Raphaelitist inspiration. Nor is it without significance that the seed sown by Rosetti and Burne Jones should spring up at this date in distant New England.
There have been many evidences, among our artists, of revolt from the brutal realism of modernity. have been misled into the vagaries that characterize the recent revolt of the younger Parisians; but the restiveness has been very apparent. Of this there could be no more cogent witness than the strong leaning toward landscape work. The landscape offers the realist his most ready door of escape from the trammels of his own method; it makes up by its intrinsic mystery the hardness of his "paint what you see" dictum.
Miss Macomber, however, goes directly to subjective experience for her inspiration, and deliberately seeks to suggest (not to depict) the "light that never was on land or sea." The method is quite simple and depends in no small degree on tradition and the mental suggestion of the title given to the picture. That which is most important to its effect must lie wholly within the mind of the beholder; it is not in the canvas, nor can be. Angels, disembodied souls, antique musical instruments, cups of "water of life," flowers like the sacrificial wreaths of ancient mysteries, these are the trappings of her art. Then there must be the image of the subject of the experience depicted as wholly absorbed with the inward vision.
We have then, in a typical canvas of this school, a figure, or group, whose expression reveals at once the depth and completeness of their introspection. By sympathy with these principals, the observer must also look within his own soul. To guide the direction of his introspection, and suggest images for it, we have the traditional symbols, angels and accessories, and, of no slight importance, the title of the picture. The whole must be composed into a picture with its own color and decorative vitality.
Considering it from the strictly artistic standpoint, one has only to ask, is it beautiful, decorative, and does it convey its message?
As to the first point, Miss Macomber's pictures while they show differing degrees of merit, are unquestionably lovely. They carry at once a feeling of beauty. The artist, in this group of pictures, has chosen to make use of the very difficult, ancient medium of tempera. In doing so she has gained in luminosity and lost in depth and richness. The pictures need to be elevated, to be seen to best advantage. They hang too low in the Guild exhibition room. They need to be up so high that they pass for windows-the light must seem to come through them, not to play upon them.
As to their message, that is all as it may be. To many of our people the most simple symbols of religion are a long closed book, or if they know of them, it is quite unsympathetically. To some the message is immediate and spontaneous. The real question is as to the artist's sincerity. Given that, it is not harmful, on the other hand it is quite educational, that nine out of every ten
should merely look and wonder. A home in which one of Miss Macomber's pictures is well hung, can
scarcely fail to have an atmosphere that its inmates, and especially the children, will come to feel.
FELICIDAD (Continued from page 30)
for the very crustiest roll, and by letting him send out to the panaderia for some little cakes, and by letting him order in some guava jelly, is beyond computing.
Doña Ceferina, too, was her own simple self at last, beaming and capable. So we sat and munched together, sipping the hot, sweet, fragrant stuff in our cups, and looking down into the sunny street below us. It was the same street of little shops where we had wandered in the dark the night before.
Some way along it, in its middle distance, I should say, was a flock of goats, a troop of plaintively bleating nannies following one aggressively masculine and silent, with something impressive in the cock of his head and the jerky activity of his tail. He might have been the hero of our almost adventure at the plaza corner, I suggested to Don Feliciano.
Doña Ceferina leaped into speech. "That reminds me," she said quite logically, as if some such memorandum had been needed to bring the fact of a last night before her mind. at all, "that reminds me; last night one of my maids ran away with one of the laborers from your plantation, Escalante. What do you think of that ?"
She shot the question at Don Feliciano with upraised hands and a face denoting utmost horror,-holy horror, I think I have heard it called, -and sat there waiting for his answer. It was really an impressive pose. But Don Feliciano merely finished his chocolate and gave the cup to the muchacho to be refilled.
"What," demanded Doña Ceferina again, becoming a bit unsteady in the pose and losing some of the impressiveness, "what are you going to do about it?"
Don Feliciano took his full cup from the muchacho and tasted it appreciatively, one small sip after another, till sheer heaviness brought Doña Ceferina's hands down to her tradition of a lap. The pious disgust on her face gave way to unaffected impatience.
"What," Don Feliciano asked her then, "what can I do about it?"
"You can send and catch them," cried his energetic wife.
"To be sure," Don Don Feliciano agreed. "I can send and catch them." He took up his cup and sipped again, as if the matter were ended.
"And you can put the man in jail,” said Doña Ceferina, horror growing again in her face.
Don Feliciano set his cup down with an old man's minute precision. "Ceferina," he said, "you are neither a nun nor a young girl. The gentleman who honors us with his company is not a nun or a young girl, either. So I think I may ask what would be gained by putting the man in jail?" His tone was very serious and courteously enquiring, and his eyes were grave. But there seemed to be just the faintest gleam of amusement in them. "They ran away last night, you say? Under the circumstances I should think a priest, not an alcalde, would be the craftsman to- to put HumptyDumpty together again."