davidaulloa/AmericanStories huggingface dataset:
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1919-08-26
ENoLA SIDE

Philadelphia Division. - The 234
crew to go first after Ais o'clock:
2O1. 24S, 221. 247. 2OS, 219, 229. 22S,
and 210.
Engineersfo 2OI. 247. 2Os, 229.
and 210.
Firemen for 2s4, 243, 221. 247, 229.
and 2lO.
Conductors for 247, 2OS. 21O.
Brakemen for pol, 90 221. 2lg.
22S C2), 210.
Conductors up: Miller.
Brakemen up: Carper, Stiles. Gar
verick.
Middle Division. - che 215 crew to
go after 2 o'clock: II, 10, 121, ia,
0S, los.
Engineers for 10, 121.
Firemen for Ill, 1lO.
Brakemen for l25. III. 121, los, lo5.
Yard Board. Engineers for extra
102, 3rd 129, 1876
Firemen for LIST 1O2. extra 1O2. 3rd
1876, End 129
Engineers up: Shuey, Myers, Cube,
Curtis, L. X. Hirklc, Hollan.
Firemen up: eastman. Sanders.
Cramer... Lightner, Morris. Metz,
Hutchison, Sadler. Albright, White.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
RejOices Picture
LOrers

Was it only few weeks ago mat
some one asked us if pictures were
improving, and we replied that they
were getting worse every day; that
they were becoming imitation plays
bound I'D in horrid parlor oh-l-love-
society restrictions, particularly la
Chambers and the Great White Way,
there being no time to portray emotion
because there were so many costumes
TO be changed; that the real road OF
motion pictures was more and more
deserted and we saw more and more
plays without drama. and actors With
out parts2s THE Miracle Man comes
with the reviving freshness of autumn
after a summer in which work seemed
nearly dead. 1t fills those who love
pictures with proud rejoicing because
il is another triumphant proof that
popularity is not necessarily the fool
ing of all the people all the time; that
there are ways for the finding by which
the public may return the best you
give it when you have given 1t your
very best. But twas time. BY golly,
twas,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
DamrOsch Finds French
Cordial to american Artists

The warmth Of feeling in French
artistic circles toward America was
shown by dinner given by the must
clans Of Paris to Walter Damrosch,
conductor Of the New York Symphony
Orchestra, at the Cercle Nolney on
May 81. Mr.. Damrosch has recently
returned from Europe, where he had
gone partly upon the invitation OF
General Pershing to inspect the work
of the school for bandmasters. which
he had founded at Chaumont, and
partly to make preliminary arrange
ments for the tour which the New
York Symphony Orchestra is TO make
through Europe next spring. He told
last week of the dinner and of the
general sympathetic interest shown
throughout the French musical world
for all things American.
THE dinner said MIR. Danrosch.
was attended by about one hundred
of the chief musicians of France. The
chairman was Georges Hue, the well
known composer, and | was seated be-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07

tween Theodore Dubois, the director
Of the Paris Conservative, and Vincent
d'Indy. the director Of the Schola Can
forum. Among the other musicians
present were Alfred Cortot. Paul Vidal,
Florent Schmitt. Roger Ducasse, Maui
rice Ravel, Pierre Monteux, Henri Cas-
adesus and the conductors of the
Opera.
During the dinner a number OF
speeches were made, among them ad-
dresses b. Vincent d'lndy. Dubois and
the chairman. In all the addresses the
speakers referred TO the cordial feeling
existing between artists in France and
America and expressed the speakers
pleasure that the New York Symphony
Orchestra was soon TO visit France"
They assured this orchestra and Mr.
Damrosch of an enthusiastic welcome.
Mr.. Damrosch. in his reply, dis
claimed the idea that the reception
rendered TO him was offered from any
personal sense. but rather as an ex-
preston of sympathy and friendship
10 the whole musical fraternity OF
the United States. During the evening
there was a musical programme.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
The Miracle Man
Rene,us a Hope

to confess than crticise, for We are
unable to find anybody else who
thought so and were aware of ten
sion in that silent audience Imagine
a silent audience nowadays! which
mifht knock US down if we broke it.
1.-The Miracle Man." with its powers
Of intensely interesting entertainment
and its handsome appeal to the eye, is
the solid answer to those docile souls
who are forever asking where they can
see really good picture, and the
crushing retort to those skeptics who
still exist, as quantity as in some
museum within the stirring world,
denying that there are any good pict-
ures, both classes meaning by good"
an excellence Of the sort to knock them
flat, qualities concrete and indisput
able, as New York is indisputably
large city and a gold mine is concrete
possession. While the expert who
signs after the shycr virtues watches
in startled admiration virtuosity in
handling which may we'll make His
brain tingle.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07

Reinald Werrenrath added more en-
gagements to his long list of orchestral
appearances already announced for the
coming season. Beginning with the
coming Worcester Festival, which
marks his sixth appearance AZ the
famous fall festival, he will not only be
heard four times with the New YORK
Symphony and twice with the Philadel-
phia Orchestra, but also one or more
times with the Boston. Detroit, Chicago
and st. Louis symphonies. He will
make his seventh concert appearance in
Milwaukee within four seasons. an un-
precedented amount of reengagements,
and his managers, the WolfsOhn Blu
reau, have announced that a special
tour of recitals has been booked for
him, when he will appear with Miss
Mabel Garrison, also OF the Metropoli-
tan Opera Company. Although other
cities are to be added TO the list, con-
tracts have been signed for six Garri
son-W errenrath appearances in Day
ton and Toledo, Ohio. Buffalo, y. Y,
East Orange, y. j.. Detroit, Mich. and
Clarksburg, Va.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07

I nuzzles him most Is the absence of a
national theatre for opera in English.
"Surely," he exclaimed, at is necessary
to the wellbeing Of the people, and a
government that appreciates the value
of art would not hesitate to build and
subsidizc a theatre for the purpose"
This, from foreign singer, came as
a surprise. II am going to sing in
English said Gilly, "in an opera by
an English composer" Further ques-
toned, he revealed the fact that he IS
to learn an Arabian part in Isidorc de
Lara's "NaIl"; and he anticipates the
experience with unfeigned delight. 1t
is due to the war that Gi!ly has been
converted to the belief that English is
a suitable language for opera. He does
not 90 to the extreme Of saying that
operas are improved by translation,
"but," he said emphatically, "if opera
is to be a national plant and not an
exotic it must be grown in native
soil. As for performing operas By
British composers in foreign tongues,
it is ludicrous. How do you expect to
found national opera by such means"
The singer explained that he was not
joining in a popular movement. He,
though Frcnchman, was compelled to
learn Italian in order to achieve oper'
attic success; he spoke German also, and
has even sung in Czech, but before the
war he had never troubled to learn
English. Now he is of opinion that In
ternment was not wholly Improbable,
because it caused him to become &C.
quainted with our language.
In April, 1918, Gilly was invaded to
Switzerland, where he found employ
ment at the British Consulate at Gen.
eva as translator. The emoluments
we're small but grateful, especially as
most Of his money had been spent in
brides. These brides were paid to
guards in Raab. Gilly and other prison
ers disguised themselves as advocates,
carrying portfolios, and on several oc-
casons went to Vienna, there to hear
Wagnerian opera. Having secured lit
tie temporary liberty by means of doles
that consisted of small sums of money
and much tobacco, party of prisoners
travelled frequently between the IN
ternment camp and Vienna. At the
Austrian capital they heard Adler, the
Socialist leader, when he addressed the
people just before the peace between
the Ukraine and Austria. lie spoke in
German, and was SO badly received that
ne exclaim ed piteously: Must | speak
in Russian to be understood"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
Ne,c Buildings viii
Increase Size Of PralO,
Famous Art Museum


The Madrid correspondent OF THE
London Times" reports the building
Of a new addition that will more than
double the present accommodation FOR
picturcs in the Prado Museum. The
new buildings consist Of twenty-five
large rooms, of which twelve receive
light from the roof and are on level
with the main floor.
The new buildings eli the space that
used to exist within the museum in
closure, behind the museum and be-
tween it and the emincnce on which
stands the Church Of San Geronimo and
its cloister. The architect, Don Amos
Salvador, jr., has been well inspired
in combining his endeavors to obtain
ing a maximum increase Of accommo-
dation for the pictures with mini
mum alteration Of the exterior ap-
pearance Of the museum. The build
ing is now completed, and only interior
arrangements remain TO be done. The
centenary of the museum falls next
November, and efforts are being made
TO inaugurate two, az least, OF
the rooms on tina. date. The rest will
follow.
The new space allows OF an i'm
portant Encouragement OF the pictures
that will change the whole aspect Of
the museum. According to the d.
rector of the Prado, Don Aureliano de
Beruete, the chief masterpieces of
Velasquez, notably LAS Meninas' and
the "Crucifxion," will be placed in the
new rooms adjoining the Valesquez
Hall. FL Greco will have room 70
himself next TO that Of Nelasquez.
The Venetian school on the one side
and the Flemish school on the other
will fill the remaining rooms down to
the wings above mentioned. The most
notable feature in the new arrange
ment will perhaps be an Imperial
Room" (the largest new room in the
north wing, which will contain the
equestrian portrait Of Charles V by
Titan, the two full length portraits of
Charles V and Philip II, that of the
Empress and the Gloria Charles took
with him to Yustc to comfort him on
his deathbed. The Leoni bronzes and
Florentlne inlaid tables. presented 10
Philip II after the battle of Lepanto,
will complete the furniture Of a room
thus filled with historical as well as
pictorial interest. The corresponding
room in the south wing will be given
over to Rubens.
The effect OF these changes will be to
clear the great cen raj gallery, which
will allow of a methodical classified
ton of the large miscellaneous col.ec-
ton of paintings of the Spanish school.
In the basement large room has been
Sc. aside for the works of Poussin and
Claude Lorrain, and the works Of Goya
will be re-hunc. Tic basement Will
also provide large restoration studio.
The fine original entrance to the
museum, which hitherto has not been
used. there being no stairway to the
gallery above, will shortly b. thrown
open.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
By Crenville Vernon

This is the period OF the doldrums.
The concert rooms are shut. at the
Metropolitan the orchestra seats arc
covered by an immense platform on
which the scene painters are making
ready the site for the new operas and
refurbishing the old. Mr.. Gatt-
Casazza is in his native Ferrara, among
his books and his memories, counting
no doubt a little rcgre.fully the days
which have separated him from the
hurly-burly Of the opera; sopranos.
barvtones and bassos are
in the mountains or beside the sea.
busted with babies, fishing tackle or
basket-ball; Mr.. Guard is IN Jersey
Mr.. We'll is in parts unknown, and
only Mr.. Zicgler and Mr.. Seidel remain
to give proof that the Metropolltan's
wheels are still revolving. But 1t is
the calm before the storm.
Peace there can be none to the re-
corders of things musical. Eveh
though the racetrack aida Is over,
even though the Stadium concerts have
had their day, the world is revolving
and the autumn approaching. Indeed
in few weeks. providing the strike ls
settled. we are TO hear the FIRST faint
rustlings of the storm when Fortune
Gallo's San Carlo Opera Company is to
omen his season Of opera at popular
prices. Perhaps this rustling won't be
So faint after all. An Italian audience
knows what it likes and it has already
proved that it loves very much indeed
the San Carlo Opera Company, which
gives Italian opera in the Italian way
Fortune Gallo is practical man.
He has made cheap opera pay, which
to his practically il tribute indeed.
Gallo gives "rrovatore" and "Rigo-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
Mr.. GaU0's Season

lotto" and "Aida" and Butterfly" and
"Bohcme' and "Pagliacci' and "Caval-
lcria Rusticana" Of French opera he
gives Carmen" and Faust" He is
learned in the school OF experience.
He knows that audiences who pay 81
are just like audiences who pay So
that they banker after novelties. And
having no large subscription list and
his company being endowed with no
particular social prestige. he does not
experiment. lie knows that the public
doesn't like TO be experimental upon.
that il desires neither TO be directed
nor uplifted. What it wants are the
tunes it loves. whether it has heard
them on the graphophone in America
or at it's mothers knees in far off
Italy. And Mr.. Gallo gives it pre-
ciscly what it wants. and gives it with
unlimited gusto.
During his former appearances in
New York Mr.. Gallo appealed quite
frankly to the public composed OF his
fellow countrymen. but this should be
no reason why the San Carlo perform
anccs should not have a broad power
of attraction. Italy is perhaps the
only land III which the opera is q truly
democratic art, beloved and shared
alike by count and contadino, and
given as the San Carlo Company gives
il. this democratic spirit is quite evil
dent. With the San Carlo audiences
the happenings on the stage are alto
cether a vital matter, and this is in
itself stimulating. We often hear the
phrase "to assist" at a theatrical or
operate performance, but how many
audiences really assist? This as
sistance. however. is an integral part
of Mr.. Gallo's representations. and the
sympathy between singers and audi
ence is constant and spontaneous. For
virtue alone, ii for no other, the COM
mo weeks at the Shubert Theatre Will
be full Of interest.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
War.Time Adventures
Of Dinh Ciuy

1.-THE London Daily Telegraph" prints
the following interview with Dinh Gilly,
describing the we'll known barytone's
adventures since the war:
When Dinh Gilly said "Au rcvoir" to
his friends in the summer Of 1914 he
little thought OF war and internmcnt
Strangely enough. remember his tell
ing me, writes a correspondent of "The
Daily Telegraph" that he meant to
work hard at sports in order TO reduce
his weight, which was becoming rather
ponierous. His object has certainly
been accomplished, although not by
voluntary means. II was a very diff
ferent Gilly from that of FIVE years
ago who shook hands with me and
flashed those wonderful eyes Of his 4
few days since He is very much
thinner than even he wished to be. and
there are few gray streaks in a head
Of jet black hair. The famous barry
tone, it should be explained, IS Of
French.Arabic origin, warm French
patriot and most delightful compan-
ION.
At the outbreak Of war Gilly was
enjoying a holiday. fishing and shoot
ing, in Straz, In Bohemia. Being q
French soldier and young, powerful
man. he was quickly seized by the Aus
trian military authorities and interned
in Central Bohemia. "The name of the
place said Gilly, with a grin, "is
Hindu ikuvhradec." lie had nothing to
do. and, bein. possessed of a fair yuan
tity Of money, most of which was skill
fully concealed. he managed for year
to get share Of tolerably good food
The military authorities wished him
to sing, but Gilly,s terms were not ac-
ceptable. Ii he We're allowed to sing
La Marseilaise" at the end Of the
first part of the concert they might
hear his voice. That was too much,
and although the musical Austrian Off
GERS were keen to hear Gilly, they dare
not at the cost of permitting the French
national anthem. He refused to sing in
Prague Though offered handsome
fce-so long as that city was in the
hands of the enemy.
Bad times began in 1915, when Glly
left Bohemi for Raab, in Southern
Austria, there to suffer the worst form
of in.ernment for period Of three
years. 1t is the oft-told story of very
scanty food Of the poorest quality. no
fuel in the winter and many other hor-
rors. But Gilly is in way grateful TO
Raab. There he met British prisoner
Of war, who taught him English. which
he now speaks with remarkable fucncy.
He is very proud of his acquaintance
with such authors as Shakespeare,
Dickens. Thackeray. Scott, Kipling,
Macaulay and Carlyle. Gilly is even
bold enough to criticise the people Of
this country, who, he says, do not speak
their own language we'll. why" h.
asks, "is there a special accent associ.
atcd with Oxford and another with
Cambridge ?" He thinks that hitherto
British singers have not studied their
speech as carefully as actors, but what
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
Continuity Which
Deserves the Name

He abandons himself without reserve
to the JOY OF anything SO handmade.
Mr.. fuckers approach TO his story has
studied i, with such scrupulous love,
he has woven his picture with such
pride Of craft, that wherever you pici.
it up you find it embroidered like q
christening robe with the finest hand
wrought effects, all worked into the
general delicate density Of texture
which has the intensive richness Of the
best dialogue without losing the river
like flow of the real picture. Nothing
more sustains its interest than the
variations in time. the almost contin-
ually altered tempo, achieving within
its unbroken, ever onward movement
an infinite variety. The modulations
in mood. in tension. in emphasis and
lighsness, as well as incident and To-
cality. together with apparently mex
haustible novelties in close-ups, each
handling representing some difference
in dramatic values. these melt IN and
out Of each other as unobtrusively as
the clouds change, but as continuously.
We 90 so far with our friends in front
of US as to say we believe it is the best
continuity in the world-absolutely not
p doubt of it, How the photography
begins with a lighting that is purely
melodramatic, that startles and daz-
zles. that falls in crude pitfalls OF
blackness-we had almost said III g!ares
of blackness-s starred with flashes
vivid as adventure. suggesting that
here is something specious and tiashy
with which We are not too windy to
engage our sympathies! What change
of delicate clearness ushcrs IN the
country scenes, and how, as the emotion
deepens, the lights mellow and those
hours and locations are chosen where
it is possible to use vast horizons OF
warm gold and tender lingering dusks'
still rich with bronze and violet, nights
over the sea that still have purple IN
.A.m. and how in the orchard, where
- last Burke meets the truth, there
is nothing but essential daylight. HOW
Mr.. Tucker calls in the scacoast and
the SIX; 10 be not only backgrounds bu'
attributes OF his Patriarch and lend
him all their grandcur-an effect
which the stage could never offer-and
how fortunate he is in Mr.. Downing
being able to live up to them by keep
ing so magnificent quiet.
The whole cast is tho good to receive
any sort of individual justice IN re-
view less prolonged than the Elsie
hooks. We must, however, wave an
excited salute to Miss Betty Compton,
If whom hitherto we have been quite
ignorant and whom we now perceive
TO be very finely accomplished ac-
tress. And we suppose that since he
j. nlaying what is ingenuously called
a character part, which is also touched
with yillany, the skill, power ana
charm. the shrewd humor and imagi-
nation of Mr.. Thomas Meighan's work
will win him an admiration common
surate with what he really does, when
million straight leads, ingenuousiy
supposed to be easy acting, but par
,iallv elicit
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07

The Worcester County Musical As
ISOLATION will hold its sixty-hrst fcsti-
val in Mechanics Hall, Worcester. &C.
tober 6 to 10. It will be the All-Amer-
lean festival announced fog last year
and omitted because of the influenza
epidemic.
Never before in the history Of the
United States has a similar scheme OF
such magnitude been presented, when
an entire festival Of five concerts will
be made up of works of American COM
posers and rendered entirely by Ameri-
can artists. Never before have so many
American composers-nineteen alto
gether-been given a hearing at any
one time.
DR.. Arthur Mees, whose work in
Worcester for ten years has brought
the festival to it's. present high stand
ard, will direct. Thaddeus Rich and his
players from the unsurpassed Philadel-
pnla OICneStTA Will Hidhc lHSii s"iA"
appearance at the festival.
The choral works that will be given
are Chadwck's Judith" Hadley's "Ode
to Music" and Daniels's peace With n
Sword"
The soloists will be Mabel Garrison,
soprano; Louise Homer, contralto;
Emma Roberts. contralto; George Ham,
lin. tenor; Lambert Murphy, tenor;
Reinald Werrenrath. barytone; Edgar
Schofeld, bass; Milton c. Snyder, bass;
Frances Nash. pianist, and John Powell,
pianist. The latter was engaged after
the festival programme was complete
because it was thought fitting that his
"Rhapsodie Negro" work so typically
American, should have a place on the
programme of the All-American festi-
val.
There will be a chorus Of 400 voices
and in addition a large children's
chorus.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-09-07
Limps on the
HOmesfTefch

For we do not like to have audiences
getting ahead of us by feeling things
that We do not feel and yet We hear
claims being made for "The Miracle
Man" which make US wonder if we
were asleep. Immensely as We en-
joyed it, we cannot admit that it affords
US the final depth of feeling or
spiritual experience of which its sub
ject is capable. II it did it would
eclipse Lincoln's Gettysburg address
and rival the Sermon on the Mount.
"a picture that reaches the soul" does
not speak for our soul, which was not
reached. We did not come away from
"The Miracle Man" desiring to nourish
the suffering on our hearts blood and
momentarly made an angel before our
time, as we did from Broken Bios
the lady in front of US, who said she
believed it was the best picture she
ever saw, nor as the gentleman who re-
piled, oh, that there could be abso-
lutely no doubt of it. For us the pict
ure had one fault. We felt as if the
firm and steady grasp which held it re-
Taxed a little toward the close, giving
a sense of prolonged and weakening
sentiment. BY the supreme moments
following the Patriarch's death We
were not moved.
Perhaps We were jealous of the emo
ton which we felt all around US but
could not capture. Perhaps we were
merely in the undeceptive mood Of
FESTIVE and exasperated fatigue, which
came of having to wait till o'clock
for the picture to begin. But OF
course we don't think so. We think
that virtues homestretch really was
q little long and even q little limp;
that the angry hero was shown rather
too often lingering that gun which he
WAS never to fire, that there were too
many close-ups of too many persons
with large tears rolling down their
faces. The difficult and disorderly
tears Of Tom Burke came with just
tho right sense of shock and shame
and consolation; after them there was
not much thrill in seeing young lady
wecn a thing young ladies are prone
70 do rather easily. and when We were
shown the smcared face OF The Frog
we came altogether too near remem-
herring that the reformed brute is the
facilest sentimentalist. But II we
thought these two or three crucial mo
ND, weak W. are in the mood rather