New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-01-21
LONDON NOTES
ReIioious Pageantry-Post-lm-
nressionism-Sir Alfred East.
London, January 8.

M Olympia is an inCie"0'
.o,orstion. A London vicar OF evangeh-
cal tendencies was urged by a pair Oh
hioots I'm his congregation to denounce
,ho snectacle as 'Romish" and "idola-
,rous" but he wisely preferred to hold
his tongue until he had slipped INTO
shilling seat and seen what IL was hhe'
He fancied that he was in Rheims ="
thedral. was deeply impressed with tne
heauty of the stage pictures, the Amos
nhere of reverence and the exquisite
music, beheld in the Madonna the en-
bodiment OF all that was sweetest anu
,oveliest IN woma nhood, and ended py
resolving 70 go a second time ana 10
recommend the spectacle to his Protes-
tsnt congregation. Not all spectators
are equally broad minded. There are
protests in the press against hoidlns up
Roman ceremonial to travesty ana cum
tempt. and equally emphatic refnon-
strances against an insidious exhipltioh
of MarioIatry but. the Judgment OF tne
candid vicar, who went to scoff ana re-
NAMED TO pray, Is supported by large
majority of the letter writer's. Tne pest
proof Of the essentially religious and
elevating character OF the mystery play
Is the reverent hush OF the vast multi
tude when the worshippers and process
sons sweep by and the enthroned Ma
donna comes TO life to take the place OF
the Grant nun and to open the door TOT
the return of the penitent
objection has also been raised by
censorlous critics to the expedient OF
helping out the emotionalism OF the me-
atre with the emotionalism or religion.
They assert that the author OF this stu
pendous miracle play has used sacred
subjects and symbols for the sake OF
producing sensuous effects, and thereby
has degraded both art and religion. APP
parently these critics will attend the
coming production of "Gdipus Rex at
Covent Garden without qualms OF con-
science because the subject is drawn
from classic myths and does not touch
the religious sensibiities OF Christians.
If there was force in the eighteenth CEN
fury argument that Satan ought not to
have all the good tunes, there ought not
to be less cogency in the plea that the
modern theatre should be allowed TO
make reverent use of religious subjects.
The dramatist in this instance has re-
vived a thirteenth century legend OF the
snatching OF the Child from the Ma
donna's arms and OF the miracle which
no SacrilaCc He has trans
figured IL into the story OF recreant
nun. beguiled either in dream or in life
BY the plea sura BILE excitement OF the
world, with the Madonna coming TO life
as her substitute in the convent and re-
turning to her throne in the cathedral
when the penitent returns with dead
child In her arms. II is a story that
thrills audiences with a sense OF the
nearness OF divine nature and sends them
away chsstened, purified and uplifted.
Mr.. Roger Fry, an erudite critic and
daring experlmenter In new art proc
esses, has rallied the Post Impression
lists by an amazing exhibition of draw"
ings AMI paintings in the Alpine Club
gallery. There are over fifty Of these
limitations of Matisse. Van Gogh and
Gauguin, and before any one can either
understand or admire them he must for
get all that he has ever learned from
systematic study OF the old masters.
Something is saved from the wreckage
of the art OF the past. for some of the
new work has decorative quality. and
.A,ta -
modern cult OF the ugly there are pas
sages OF beauty in two or three OF che
landscapes. Possibly these are excep-
tons, which prove the rule that neither
decoration nor beauty is to be considered
in the quest for new heavens and a new
earth, in which external objects shall be
felt rather than seen. Certainly the still
life pieces are ugly enough TO satisfy
the most fanatical admirer OF Postum
pressionlsm; the portraits rival IN
crudity the Matisse doll with green eyes
Of the Grafton chamber Of horrors, and
the landscapes. with their coarse patches
OF blue, green. red and brown and their
fantastic application Of the laws Of per-
spective TO vertical lines, are startling.
indeed, to eyes unaccustomed to the new
methods of expressing "the real horst
ress OF the horse and "the rhythmic
significance" of nature.
Much of this advanced work Is un,n-
telligible except TO converts, who roll
their eyes in fine frenzy" and make
mystic passes with their hands Mount
Olympus. the Balkans. Brusa, CONSTANT
nople. mosques, and other scenes in the
Near East are portrayed in a much
broader style than either Professor
Holmes or Mr.. John has adopted, and
each is an extremist. with many va
carries. The volume Of familiar object
is suggested by heavy masses Of thick
paint without graduation or tonality.
South Coast scenes. such as Poole Har-
Dor. Bournemouth Bay and the sands Of
Studlands are expressed" without al
Of any of the articles and conventions
of composition. There are portraits
without high lights, and there are land
scapes and marines with green shadows,
such as a child might make with chalk
on single. II is a most bewildering
exhibition to spectators Of ordinary
training and knowledge.
Bracins and reassuring after his con-
fused survey of tentative Post-Impres-
sonism Is an excursion to the Leicester
Galleries. where there is fine collec-
ton of Sir Alfred Easts drawings and
paintings. Many of them are rapid
sketches for large works, and others are
color notes and vivid impressions OF
corrnrn In, la