New-York tribune., 1901-02-06
NEw.YoRK DAILY TRIBUNE. WEDNESDAY FEBRUARY g. 1901

the English school during the last hundred
years and a third gallery filed with a choice
selection Of water colors by living artists The
nrst half OF the last century is represented by
artists whose names have almost ceased to be
familiar. They worked under great disadvan-
tages when paper OF the right quality was not
manufactured and when the range Of coors
was narrow. and they had the drudgery of
grinding and preparing them in their studios
Among them were men like Cozens Harrington
Herne. Girtin, Varley and many more. The
later period brings in masters like Bennington.
Turner, Samuel Prout, De Wint. Cotman. Cop
ley, Fielding David Cox, William Hunt and
Miller. Not one of the great painters in water
colors Of the English school is missing from this
exhibit. II the work of the living artistic
is inferior to the mastery dra wings of the last
century, it al least shows evidence that the best
traditions are honored and that color sense is not
falling of. This is gallery which be Wis
tied with delight many times.
The Merchant Of Venice" is as familiar 10
American as To English playgoers. and on both
sides of the ocean Sir Henry Irving and Miss
Terry have set the style for its production at
least for this generation. On this account it IS
unnecessary to describe in detail the production
of the play at the Comedy Theatre by the Ben
company. II was a good performance by
well trained company Of Shakespearan actors.
and il gave pleasure to the audience on the
opening night. Instead Of making compari-
sons between the Benson performance and the
familiar Lyceum production. it may not be out
OF place 10 refer TO artistic detail OF costum-
ing. Mr.. Benson does not attempt to produce
scenic effects 4 large scale. but he takes
great pains to have the Costuming historically
accurate and harmonious in color. The Mer-
chant is ordinarily costumed for the time of
b,,tA A, saye in ha
period, from Ass to 1920. The costumes and
coiffures of the earlier Venetian period much
more beautiful than those of Titian's time. and
consequently better suited TO poetic comedy. In
Titian's day the hrocades were cut to stand
stiffiy, and the hair was generally drawn back
from the face and pinned up the head in fiat
coils composed Of many small tight braids.
In the earlier period hair often worn flow
ing. or was held together still hanging by ropes
Of pearls. which also used in different
styles in caps and fllets on the top of the head.
Mr. Benson, by showing a preference for the
Carpaccio period, produces lighter and more
fanciful effects of costume
Miss Eleanor Calhoun Portia dressed
as Carpaccio's great ladies sat for him in Venice
Her most beautiful dress was white embroidered
on the bodice with black and gold roses. The
sleeves were cloth Of gold embroidered with
black roses. and showing pufflngs of white at
shoulder, elbow and waist. with black knots
with gold pointed tabs. Around the skirt at the
knees was row Of golden roses and leaves The
hair was held by ropes OF pearls and fillet of
pearls, and she wore around her neck a string |
OF pearls and one Of coral. Pearls and corals |
were the only precious stones allowed 70 be |
worn by young girls IN that period Portia |
when the curtain rose was disclosed sitting with |
a lutte as Carpaccio painted many Venetian
lady; and il was an instrument OF the right |
period, for it came from the private collection !
q the one connoisseur in London who knows |
the history Of music in connection with art
/ y F