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Forms Of American Drama
THE American theatre has created no special form of drama; it has not even been original in its rhythm of expression. It has modified types, it has infused much picturesque detail into local condition, it has expressed rather crudely all that is meant by American uplift, but it has done so in form imitative of English and Continental examples.
National Theatre
HERETOFORE, everything that has been written about the need for a New or a National Theatre in America has been of a speculative character. Even the excellent statistical book by William Archer and Granville Barker...
Need For A Dramatic Library
THERE have been many movements on foot to establish a dramatic library in New York and elsewhere — some full collection of books to satisfy the intellectual and technical demands of the theatrical profession. All social movements betoken a social need, and in the present extensive library development, no one has bethought himself to make a plea for this particular branch of art and literature.
Disintegration And Regeneration Of The Theatre
THE theatre in America is passing through its newspaper phase; in every department it is being influenced by those economic forces which try to inflate the market without improving the product, and which measure the product as a commodity rather than as an art.
PRESENT-DAY dramatic criticism in America is not an art, but a pastime; one does not have to be specially trained for the position, but more generally assigned to the position, which is but another way of claiming that a play is more likely to be reported than to be reviewed.
Francesco Raibolini - Goldsmith, Medallist, Die Sinker, Gem Engraver, And Type Founder
VASARI records the date of the birth of Francia as 1450, and it is probable that he is right in this assertion. Calvi, who wrote a short life of the artist in 1812, to which reference will be constantly made in these pages, ascertained that the master matriculated in the Gold-smiths' Guild in 1482, on September 10, and in the following year, 1483, was appointed Master of the Guild.
Francesco Raibolini - Early Pictures
IN Calvi's Life of Francia we find stated that he was a pupil of Marco Zoppo, and the same statement is made by Malvasia in his Felsina Pittrice. Morelli, however, shrewdly points out that, although the assertion that he was a pupil of Zoppo may be read in books, it can nowhere be seen in his works, not even in his niello works...
Francesco Raibolini - The Great Altar Pieces
THE ruling power in these early days of Francia's work was his patron Giovanni Bentivoglio. The family had secured the dominion in Bologna about 1440, but Annibale Bentivoglio, who was then chief magistrate, was treacherously killed in 1445.
Francesco Raibolini - Music And Color
IT would appear that Francia, with his many varied capacities, must have possessed a love of music, and very probably was acquainted with the art, and perhaps was even a performer himself.
Francesco Raibolini - Fresco Decoration
IN 1505 Francia painted, by special contract for the commune of his native town, in the dining-hall of the Podestà Comunale, a Madonna known as the Madonna del Terremoto (Plate XXX.), to commemorate the deliverance of the place from total destruction by an earthquake which visited Bologna in June of that year, and caused the greatest alarm and injury.
Francesco Raibolini - Latest And Best Works Of Francia
WE do not know what pictures Francia painted during the year in which his patrons fled from Bologna, nor have we any records proving what other work he did besides the medals for the Pontiff, who had again assumed the power in his own city, and the next land-mark that we have to guide us is found in the date upon the Dresden picture, 1509.
Francesco Raibolini - New Documents About Francia
IN the Archiginnasio Library there is a series of volumes of manuscript bearing the following title : Notizie de Professori del Disegno cive Pittori, Scultori ed Architetti Bolognesi e de Forestieri di sua scuola racolte ed in piu tomi divisi, by Marcello Oretti, Bolognese Accad. del Institu. della Scienze di Bologna.
Francesco Raibolini - Influence Of Raphael
THE school which Francia gathered about him towards the latter part of his life was one of the most notable and popular that the records of Italian art reveal. He is said to have had as many as 200 pupils, and the names of a large number of them are recorded.
Francia As A Portrait Painter
IT is, I think, clear from the many references that are made by Bolognese writers to the portraits painted by Francia, and to their excellence and beauty, that the artist was considered by his fellows to be of great repute as a portrait painter, and that more portraits should be ascribed to him than we are at first inclined to suppose.
Wagner - The Stolen Treasure
THERE is a certain little girl who sometimes tries to find out when I am not over busy, so that she may ask me to tell her a story. She is kind enough to say that she likes my stories, and this so flatters my vanity that I like nothing better than telling them to her.
Wagner - Daughter Of The God
IF you say you can see all those things in the fire, - said the little girl, with an air of doubt not yet quite overcome, - I suppose I shall have to believe it, but I don't see how. I try to think of them the way you said, but I don't see them in the fire a bit. Can you see them all the time ?
Wagner - The Hero Who Knew No Fear
DON'T you think the fire is very good tonight ? - the little girl asked. - Yes, it is certainly very good indeed, - I admitted. I should think, - she said, - that anybody that could see things in fires might see very nice things in this one.
Wagner - The End Of The Ring
THE fire has always fascinated and charmed me. When I was a child myself I used to watch it till my eyes ached, and my habit of throwing sticks and paper into it to see them burn was a terror to all my aunts. A bonfire was a delicious joy, and fireworks, especially if I could set them off myself, were the summit of happiness.
Wagner - The Knight Of The Swan
THE little girl was lying on the rug before the fire, one elbow buried in the long fur, and one cheek resting on her hand. She was gazing into the fire, studying the bright, flickering flames and the red embers.
Wagner - The Prize Of A Song
THE fire was almost out. It was so late in the spring that none at all was needed, but we liked it to look at. As for the little girl and me, we should hardly have known how to get on without it, and the little girl's mother chose to humor us, so we wasted a great deal of wood, as ignorant people would think, and were just as comfortable with the sky smiling and the trees budding all around us...
Wagner - The Blood Red Sail
THE fire had been out for weeks. Somebody who came from the country had almost filled the fireplace with a huge bouquet of wild roses. They made it look very pretty for a few days, but now the roses had all faded and fallen to pieces too, and nobody cared enough even to sweep up the dry, dead leaves and throw them out.
Wagner - The Love Potion
THERE was a beautiful moon and everybody said it was a pity to have it wasted. So indeed it was, and everybody asked everybody else what we should do to prevent its being wasted. A few, who had made the best possible use of more moons than the rest of us, were in favor of simply sitting on the rocks and looking at the moon and the sea under it.
Wagner - The Minstrel Knight
THE little girl stayed at the seashore till the middle of the autumn. That is the way sensible people do, when they can, and I have worked much in vain if I have not shown by this time that this little girl is a sensible little person. The spring is very lovely, to be sure, and of course we all love it.
Wagner - The King Of The Grail
IT was the last evening of the year. In honor of the occasion the little girl was allowed to sit up rather later than usual—not till midnight, of course, so that she could see how different the whole world would look after the clock had struck, but long enough to make her feel that she was doing something very pleasant, because something that it was not good for her to do very often.
Wagner - The Ashes
AFTER the little girl had gone, I still sat for a long time looking into the fire. I was seeing pictures for myself, not now of the days so long gone by, but of days not yet come, pictures with the little girl in them. There, in the flames where we had seen so much together, I could see pretty clearly, as I thought, what she would be and all that she would be some time.
Theatre Of Today - The Gathering Of The Forces
TEN years ago this book would have been written entirely about dramatic literature. At that time we thought of the institution of the theatre as being a collection of printed plays together with a few necessary buildings to present them in.
Theatre Of Today - Mechanical Forces: Improvements In Stage Equipment
THE last ten years have brought to the service of the theatre a new figure. His coming we can regard as symbolic. It stands to us as a sign that the theatre of the future can choose what it needs, instead of taking what it can get. The new figure is the worker in applied science.
Theatre Of Today - The Artistic Forces: The Stagesetting, Or 'inscenierung.'
FOR this chapter we must coin a new word. There is no English word to convey the idea of stage-setting in the modern sense. The German attitude toward stage-setting has given the German word for it a distinct meaning a meaning which must be associated with the new art as it spreads around the world.
Theatre Of Today - The Artistic Forces: Pure Design
PURE design in works of representative art (such as pictures), is an artificial abstraction from practical artistic problems. It performs for us the service which abstraction and generalisation perform for us in any case helps us to find our way about in a maze of apparently unrelated facts.
Theatre Of Today - The Artistic Forces: Color
IN this chapter, as in the last, we are dealing with a 'pure' subject abstracted from the various influences with which it must commonly work in practice. It is the more necessary to treat it in this way because colour has only recently come into the theatre as an independent art with laws of its own. It is at present only in process of application.
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