New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-01-06

with the works OF Franz or Schumann. to bracket
Mr.. Chcyaiior and his kind with the rulers Of the
lyric stage. AL forsooth is Art: all these people,
1t seems are Artists-Cheyacr Little Itch. Dan
Leno and Yyette Well. perhaps the smart per-
sons who settle these things In London are right.
II their Partisan forbears have been right before
them and indeed the color and the picturesque
ness OF much that Is presented behind cafe foot
lights I'm the French capital 20 far to lend an
artistic charm 20 inartisc things. But the Art in
question ia a dchased art: IL is the decadent arti-
fee OF men and women who minister. not to A
sense of what is spiritual and beautiful-the mis-
sion OF the true artis-bu, 70 sense OF what is
animal and sensual II Is in this Hight that Yvette
Guilhcrt must bee regarded 10y any one who APP
praises her personality and work at their true
value Look at her as she appears upon an open
air stage in her familiar and beloved Paris
\ pretty decorative scene Is set. Behind Yvette
are the reds and Colds OF such a Hat" as your
French painter FOR the stage knows how to produce
over her is an arch OF twinklng lamps She faces
an audience OF luxurousy vicious types; heavily
built men, coarse in grain. rich in attire. and az
companied by the nervous. cod-eyed women whoul
they have made % look Ike themselves. The nom
en- like the men are handsome. with bold ana
vulgar comclness. cruel cynical AMI eXtraVagant.
Scattered among these more fortunate voyagers on
the turbii stream OF Partisan life YOU see the
anaemc faces ~ women and mer VINO seem TO
keen aNoat through inhang even more obnoxious
airs the thin malicious and souess physiognOmles
OF creatures whose laugh has no meriimeni IN H.
whose bearing is defiant with the bitterness OF de-
served defeat whose eyes sckly with much
looking on shameful SORROW. They all come those
I'm their hcytIay and those in tho autumn leaf And
the man who can look them mmoved must be
a very shallow man II is a brilliant scene to be
surc There is lghtnoss there is color there Is
n,ov.mcnt Every ore Is well dressed and alert.
bent on forgetting private griefs in public pleas
ures Yvctte is their respite from care and dis
Grace But IN what way? Turn 10 the stage and
yvettc Is dressed in deep apple-grecn robe that
fits her closely and is readily suggestive 81 the
gown I'm +, painting by Botticeili from which she
took the idea Her black gloves cover her long
arms nearly 10 the shoulder. Her bronzcd auburn
hair is gathered simply above her thin hard race
a face in which the sadness OF troubled life and
the mischlevousness OF a gay one seem 10 minsIe
She clasps her hands lets them fan neghsehty
below her waist. and in the most caressins OF
tones with the demurest of expressions she ne
gins to sing Does she sing TO bring them sur
cease 81 sorrow? she haunts II in their faces
Does she sing the grace and charm ana beauty
Of womanhood? She hints broadly or It's degraaa-
ton and holds up the lily her auditors nave as
honored. to show them how deftly and Witty sac
can soil II further not by bald words. but by
shrug Of the shoulders plquant gesture phrase
that can mean two things. but only means one 10
a throng whose responsive Singer reveals tiie
,lirtN Instincts Of its mind. And they call TINS
Art they have plaudits for the drolery that makes
capital ont Of youth and loVeliness ana virtue ana
bigh ideals that drags chastity I'm the filth. to see
how effective it's Wilderness makes the mire; they
revel In the spectacle Of a mimic using the most
nrccous attributes OF her sex To give the hign
lights I'm a plc tire that is otherwise all shadow. THIS
appes to tn, Art" Of Nvette Gnilbert or
co,l,rs, she would DENY il. None OF her songs. in
her belief. is calculated to bring blush TO the
check of innocence. Quit, true. with her by
play and accent they are calculated To strike a
more hrazcn surface. The cheek of innocence IS
not often turned to her In Paris. She sngs there
for A public that has made her possible singer
and public invite ones scorn but more unedINSihS
than either Is the fatuOus enthusiasm with wnicn
London has become infected. Exhibiting pro-
vnciality that is almost comic in the face OF their
comnlacSrcy and pride the English accept with
nlacritV ANYTHING and everything that comes from
Paris so long as IL is introduced with the vague
and magic syllable of Art. one can forgive the
sillv youths who know no better. When serious
m nded men and women lose their heads over
Yvette Guilbert they become contemplate