OCR Interpretation

New-York tribune. (New York [N.Y.]) 1866-1924, July 05, 1908, Image 42

Image and text provided by Library of Congress, Washington, DC

Persistent link: http://chroniclingamerica.loc.gov/lccn/sn83030214/1908-07-05/ed-1/seq-42/

What is OCR?

Thumbnail for 2

"Mimic IVorld" at Casino Thursday
. NighL
A:.H.AVPF. A 126 th rt. »n6 7th tv».-5 — — V»ua«rlH«. '
ASTOR. Bro*d»«y and 45th 2:ls— S:ls— Palfl to Pull.
BOSTOCirS ANIMAL PHOW, r>r*a.mlaiv!— 2— B. •
BRIGHTON BEACH PARK — S p. m.— Pain's •'I>«truo
tion of Jerusalem.' " • , ■ ' v '" *•-»'
HALT'S. Broadway. between 2Sth and . *(»th «tf — 2:30—
B:l6— GlrJs.
DREAMLAND rojyr l«lacd— 2:ls— B.
EDEN MI "FEE. 2S<3 *• . r.ear 6th art.— World in
"Vl'ax- , ...
FIFTH AVENUE. Broadway and 28th St.— Vaudeville. ,
HASIiiERSTEIN*S. "th aye. and 42d it.— 2:ls— «:ls—
"vaudeville on Roof Garden. • . .v .
HARLEM CASINO—* — Rigro and his «rch*str« ...•"■,'•*.,••
HERALD SQUARK. Broadway and STith _2:ls— Blft—
The Thre« T*inf
KNICKERBOCKER. Broadway a=d Mth st .— : 15— • : 15—
The Tank** Prince. , -■. • '
LUNA PARK. Cxraey Island— 2:ls— B. . ; .:/
NEW AMSTERDAM. 42d «t.. near 7th ay«.. Aerial Gar
«seas — 2:15 — 6:l6— The Merry 'Widow, on Roof Gar
d*O. . ■ ■ " ■ ■ ' ■ , ■•'
KIT"" YORK. Broadway and 45th «t.— 2— S:S&— Mary's
yaafa .
KEW YORK ROOF GARDEN. Broadway and 4Mb st—
2il»— fc:ls— The roll »s of 180 S.
Lexlnartoti «v«. — Vaudeville. C . • >
TERRACE GARDEN— S — "Ma.'-gTierit*' 1 Orchestra.
Next Thursday night, at the Casino Theatre, the
first presentation In this city of "The Mimic
World" "will be made. It Is a musical mixture, and,
mocor&ing t<J report, has been cordially received
elsewhere. In the cast are Irene Bentley, Jirnie Mc-
Cree, Lottie Faust. Harry Cprson Clarke. Felix and
C&^re and Ada Gordon.
The Three Twin*"' are etiil occupying the stage
Next October, before th* opening cf th« season, the Metropolitan Opera House -will have
completed an existence of a quarter of a century. Its twenty-fifth season ended last April.
Within this period th«re were two seasons in which the artistic enterprise which it was built
to houss was quiescent,— one because of the destruction of the etage by tire, one because the
lessets of the theatre thought it wise to whet the hunger of the public for operatio sweets by
enforced abstinence. The later portion of this second season was filled by a visiting troupe
tm -which the public had more or less of a local Interest, but which was not so intimately as
sociated with the institution as the companies which In popular speech bore the name of the
house. Throughout this time, from the opening night in October. 1883, to the expiring gasp of
Mr. Conrieds regime last April, I have occupied stall D-l."» on the ground floor, as reviewer of
mupioa] affairs for The Tribune. I have been an observer of the institution's vicissitudes from
the beginning and a chronicler of practically all of the public doings within its walls that have
had musical significance. I have witnessed the failure of the artistic policy to promote which
th« magnfleent theatre was built; the revolution accomplished by the stockholders under the
leadership of Dr. Leopold Damrosch; the progress of a German regime which did much to
develop tastes and Ideals which till Its coming were all but unknown quantities in American
life and art; the overflow of that regime and the dawn and development of the liberal and
comprehensive policy which marked the climax of the career of Maurice Grau as an operatic
director; I have seen, since then, the fruit* of wise endeavor and astute management frit
tered away by incapacity, greed and presumptuous Ignorance, and fad and fashion come to
rule Spain where for a brief but eventful period serious artistic interest had been dominant.
A new regime will be inaugurated in the coming fall. Concerning its purposes and policies
. • is known, for the reason that the concrete facts laid before the public are little Inform
ing and the promises which have been made are vague and general and would not bring con
viction even if history had not taught us to put no more trust in impresarios than in princes.
The time seems fitting for a review of the twenty-flve years that are past. The incidents
of that period are fixed; they may be viewed differently, but they cannot be changed. They
belong to history, and to that history I purpose to devdte a series of articles in the Sunday
Issues of this newspaper during the summer and fall of this year. While they will give a
tolerably complete record of the operatic performances at the Metropolitan Opera House for
twenty-flve years, they will also be a continuation of the recollections and records of opera in
New York which were published In The Tribune last summer under the title "Chapters
of Opera." I cannot tell all that might be told. Much that is mere gossip would profit noth
ing and nobody; much, if it were told, would only gratify malice on one hand and give pain
ob the other; and I am neither malicious nor cruel. What I shall tell will be set down in a
spirit at once fearless and amiable, for the edification, and, I hope, also entertainment, of the
opera lovers of to-day, whether they occupy Stalls 13 and 15 in Section D, the stalls of the other
sections on the ground floor, the boxes or the royal gallery peats above them.
£*« . ' CHAPTER 1.
The Metropolitan Opera House was the fifth the-
erected la New York for the purposes of Ital
ian opera. Italian, German and French operas in
adaptations and operas in the vernacular had long
been known when the Italian form appeared, and,
like the latter, had been housed in the theatres
generally occupied by the spoken drama. The
home cf the original Italian company was the Park
Theatre, which had been opened in 1820, and I
make no doubt that it costs more to Illuminate
the Metropolitan Opera House for one season than
It did to build the theatre which echoed to the
voices of Garcia's troupe, including that of the
young woman who was soon to be the incompara
ble Malibran. The second Italian opera company,
the career of which began in 1532, and which was
managed in part by Da Ponte, Mozart's librettist,
occupied the Richmond Hill Theajre. which had
©nee been a private mansion and the home of
Aaron Burr. Da Ponte, having made a financial
failure of the season. Introduced a rule of operatic
management which still possesses come potency In
the metropolis, and wherever Italian opera nas
something like a footing; briefly stated the rule is
this: Failure stimulates new enterprises; new
enterprises call for new houses. Da Ponte, having
made a wretched failure In 18S:, opined that the way
to achieve success was to house an aristocrat:;
form of entertainment aristocratically. He per
suaded rich men to build the first Italian Opera
House in New York. It etood at the Intersection
of Church and Leonard streets. It cost $175,000,
which Is about one-tenth of what It cost to build
the Metropolitan. It was opened on November 18,
IS3S, within one month of fifty years before Us
trea i t,£*.iscessor,.and was the home of Italian opera
Just two seasons, helped to effect the ruin of two
sets of managers, was then given over to the
fjicken drama under the style of the National The
atre, as. which it endured till May 29. 1841, when it
exemplified another fundamental theatrical law and
went up in flames.
Without an exclusive home, Italian opera de
parted from New York until Palmo's Opera House
•was opened in February, KM. Its owner was an
Italian restaurateur, who had grown fairly rich
from his Cafe dcs Milles Colonnes. on Broadway,
near Duane street. The new opera house was in
Chambers street, on the site now covered by the
building of the American News Company. It had
none of the elegance of its predecessor, which was
the first theatre in the United States with a tier
of private boxes, but it was good acoustically and
seated about eight hundred persons. It ruined its
builder, who had to go back to his kettles and
pass, and died an object of charity. Still Palmo's
efforts were not without good results; they fanned
the smouldering fire of opera love Into a blaze, and
150 enterprising men entered Into an agreement to
guarantee performances of Italian opera for five
years in a new house which was built by Messrs.
Foster, Morgan arid Colles. This was the Astor
Place .Opera House, which held 1,800 persons and
opened its doors on November 22, 1547. The five
y?ars in which opera was given in this house make
a lively figure in history, because they were marked
by the sharpest operatic battle ever fought m
New York except that which came a generation
later. The rival house* were Castle Garden, Niblo's
Garden and the new lyric theatre, and the story
poesthat. the leader of the opposition, having
vowed ■ that he would ruin the Astor Place Opera
House, succeeded in destroying its odor of aris
tocracy by hiring it for a dog show. Eventually
the bouse »as turned over to tne Mercantile Li
brary Association and opera sought a new home.
Now the Academy of Music was built, at 14th
street and Irving Place. Its cost was $335,000, which
was $123,000 more than its builders had calculated
to spend upon It. Its name, doubtless suggested
by that of the Acadeir.i* Natiocale de Muslque, pop
ularly called the Grand Op^ra in Paris, had meas
urable Justification la the fact that with ft at the
outset was associated the idea of a school of
music. It was opened on October 2. IG4. by a
company headed by Grisl and Mario, jin Bellini's
"Norma." There was opposition to the companies
which made the Academy of Music their home
from the beginning to the end of its operatic ca
reer, but once established it remained the fash
ionable lyric theatre of the metropolis, the true
home, of Italian Opera for thirty years. Then it
yitldfcfi the palm to the Metropolitan Opera Hojtc,
with whir/ . am- chiefly concerned.
. | fttz tit* Hike of the record I and Ui«.t I iuu*t now
A, |l|||i M. l il In .Tr."^ RR GUG UU o S % ... <*-.***. >n •Tn^^' - ... H-- *°-»> ■•"^^ ""• »- *-.
of th.' Herald Square Theatre and amusing large j
audiences every night.
"Girls" 1b continuing its successful career at
Raymond Hitchcock is at home in "The Merry-
Go-Round" at the New Circle Theatre, and every
body who visits that place of amusement appears
to be satisfied. There are afternoon performances
on Thursdays and Saturdays.
repeat some of the story which was told in greater
detail last summer In my "Chapters of Opera." In
the second of those chapters I cited the Metropoli
tan Opera House as the last illustration in the field
which I am gleaning of the creative impulse which
springs fiom the growth of wealth and social am
bition, and set down the observation that its estab
lishment marked the decay of the old Knicker
bocker regime in New York and its amalgamation
with the newer order of society. Mr. Abram C
Putnam, in his book entitled "Last Days of Knick
erbocker Life in New York." says that the change
began about IS4O and was completed when nearly
all of the leaders of the old aristocracy accepted
invitations to the Vanderbilt ball, which took place,
I think, in ISS2. Long before this incident, how
ever, it had become obvious that the Academy of
Music could not accommodate all the representa
tives of the two elements in fashionable society
who, for one reason or another, wanted to own or
occupy the boxes which had come to !>e looked
upon as the visible sign of wealth and social posi
tion. There was no great popular dissatisfaction
either with the Academy of Music itself or the per
formances, then under the direction of Colonel
James H. Mapleson. though these were conventional
enough, and the dress of the operas looked shabby
in contrast with the new scenery and costumes at
the new theatre after the rivalry had begun. The
house being satisfactory, popular taste contented
with the representations, and there being no evi
dences of insufficient room in any part of the audi
ence room except the private boxes, it seems ob
vious to the merest observer from without that
social and not artistic Impulses led to the enter
prise which produced the new establishment.
The Metropolitan Opera House was built in the
summer of I&S3. The corporation which built it was
called the Metropolitan Opera House Company
(Limited), and its leading spirits were James A.
Roosevelt, the first president of the board of di
rectors; George Henry Warren. Luther Kountze,
George Griswold Haven, who remained the active
head of the amusement committee from the be
ginning till he died last spring; William K. Van
derbilt, William H. Tillmghast, Adrian Iselin. Rob
ert Goelet. Joseph W. Drexel. Edward Cooper,
Henry G. Marquaid, George N. Curtis and Levi P.
Richard Carle and ".Mary's Lamb" are amusing
large audiences at the New York Theatre.
At the Jardin de Paris, atop of the New York
i Theatre, "The Follies of 1908" is the bill, and a
i good one it is. Need more be said?
"The Yankee Prince" Is a merry chap, winter or
summer, at sunrise or sunset, and he still con
tlnw.s to occupy the stage of the Knickerbocker
Opening of the Metropolitan Opera House— lts Prede
cessors—Rivalry with the Academy of Music.
Morton. The building is bounded by Broadway,
Seventh avenue, 39th and 40th streets. About one
quarter of the space is devoted to the audience
room, another quarter to the stage and accessories
and the rest to administrative offices, apartments,
etc. Its cost, including the real estate, was $1.
732.978 71, and so actively was the work of construc
tion pushed that the portion of the building devoted
to the opera was completed when the first perform
ance took place on October Tt, 1883. J. Cleave
land Cady, the architect, had had no previous ex
perience in building theatres, to which fact must
be ascribed a few impracticable features of the
house, most of which have since been eradicated,
but he had made a careful study of the plans of
the most celebrated opera houses of Europe, and
the patrons of the house still have cause to be
grateful to him for the care with which he looked
after their safety and comfort. Bince then the
appearance of the Interior has been changed very
considerably. The two tiers of boxes were where
they are now, but their fronts were perpendicular,
and there was no bulging curve at me proscenium.
Besides the two tiers of boxes, as they exist at
present, there were twelve baignoirs, six on a side,
at the stage ends of the parquet circle, so-called.
These were found to be unprofitable, and were
f.bolished when the house was remodelled about ten
years after the opening. The decoration of the
interior was intrusted to E. P. Tredwill, an archi
tect of Boston, who followed Mr. Cady's wishes in
avoiding all garish display and tawdry effect. The
deepest color in the audience room was the dark,
rich red of the carpet on the floor. The silk lin
ings r>f the boxes and the curtains between them
and the small salons in the rear were of fabrics
specially made for the purpose. They had an old
gold ground and large, raised figures of conven
tional design in a darker shade, with dark red
threads. The tier fronts, celling and proscenium
were of a light color, the aim having been to ob
tain a prevailing tint of ivory. Amid the filagree
designs of the pilasters, which carried the work
above the curtain opening, were pictures of singing
and playing cherubs, and back of the bold consoles
which projected from the side walls were figures
called "The Chorus" and "The Ballet." painted by
Francis Maynard. while above the middle of the
opening, in a segm/entary arch, was an allegory,
with Apollo as the central figure, by Francis
L.fhrop. Statues of the Muses Oiled niches on both
sides of the consoles. Over the celling, amidst the
entwinings of ornamental figures, on a butt ground,
"The Merry Widow" is at home in her new sur
roundings—the Aerial Gardens, atop of the New
Amsterdam Theatre.
"Ski-Hi" is not a bad piece to see these summer
nights. It Is visible on the roof of Madison Square
At Terrace Garden the "Marguerite" orchestra
amuses the- patrons every night. Paris Chambers
and Mile. Albrecht are announced as the soloists
this week.
BY M. 15. KlinißlH.
were spread a large number of medallions of ox»
idized metal, which, in the illumination from the
lights, shone with a copper lustre. The house was
lighted by gas. though preparations had been made
for the installation of electrical appliances when
that form of Illumination should be found justified
by economy. As originally built, the orchestra was
sunk sufficiently below the level of the floor to
conceal the performers from all but the occupants
of the upper tiers. In the hope of attaining im
proved acoustic effects the floor of the orchestra
was laid upon an egg-shaped sound chamber of
masonry. The Innovation did not meet with the
approval of Signor Vianesi, the first musical di
rector at the opera house, and. after an experi
mental rehearsal, the floor was raised so that the
old conditions obtained when the performances be
gan. Sc the orchestra remained, the players spoil-
Ing the picture on the stage, until "Lohengrin"
came to a performance. Then Signor Vianesl was
prevailed upon to try the arrangement from which
Mr. Cady had expected fine artistic results. The
effect was gtiod. and the device was adhered to for
a space, and in more or less modified form ever
since, though there has been continual experimen
tation with the disposition of the instrumentalists.
Operatic performances began at the new house on
October 22, 1883, and after sixty-one representations,
at which nineteen operas were produced, the first
season came to an end. I shall tell the story of
the season in greater detail in the next chapter,
contenting myself for the present with an account
of the results of the merry war which ensued be
tween the rival establishments. Colonel Mapleson
was intrenched in the Academy of Music, which
opened its doors for its regular season on the same
evening. The advantage lay with Mr. Henry E.
Abbey, who had a new house, the fruit of an old
longing and the realization of long cherished social
aspirations. With the Academy of Music there
rested the charm of ancient tradition, more potent
then than it has ever been since, and tjie strength
of conservatism. There were stars of rare reful
gence in both constellations which met the Biblical
description in differing one from another ia their
glory. With Colonel Mapleson was Mme. Adelina
Patti, who, in so far as she was an exponent of
the art of beautiful vocalisation, was without a
peer the whole world over. She served then to
keep alive the old traditions of Italian song as
Mine. Seinbrich does now. At her side stood Mme.
Etelka Gerster. with a. voice youthful, fresh,
limpid nnd wondrously Bexible, and a style that
was ripeninc In i manner that promised soon to
compass all the requirements of the Italian stage
from the sentimental characters in which she won
her first successes to the deeper tragic parts which
had begun to make appeal to her ambition. With
Mr. Abbt-y was Mine Christine Nilsson. Mme.
Pattl,, though she had grown to womanhood and
effected her entrance on the operatic as well as
concert stage in New York, was not so familiar a
figure as Mme. Nilsson. Patti had begun her
opernttc career at the Academy Of Music in 1859
and had gone to Europe, where she remained with
out revisiting her old horn« until the fall or winter
Rlgo and his Imperial Orchestra ate at Harlem
Casino. Concerts are given every night.
The Hungarian Band gives concerts dally at t;:e
Eden Musee. That excellent place of amusement
and Instruction Is open winter and summer.
At the Alhambra Theatre this week the bill will
be headed by the Four Huntings. Fields and
Ward, the Kerrell Brothers and Patsy Doyle will
Alice Lloyd will lead the performance this week
of ISBI. when she came on a concert trip. The trip
was more or less a failure, the public not yet being
prepared to pay $10 for a reserved seat to hear
anybody sing. After singing at a concert for the
benefit of the sufferers from forest fires in Michi
gan, she announced a reduction of prices to $2 for
general admission and $5 for reserved seats. Under
these conditions business improved somewhat, but
in February. 1882, she found it necessary to organ
ize an 6pera company in order to awaken interest
fairly commensurate with her great merit and
fame. It was a sorry company, and the perform
ances, only a few, took place in the Germania The
atre, in Broadway, at 13th street, formerly "Wal
lack's. but they were received with much en
thusiasm. So far as London was concerned she
was under engagement at the time to Mr. Gye.
Colonel Mapleson's rival at Covent Garden. Mr.
Abbey claimed that he had an option on any Ameri
can engagement for opera, but she appeared next
season at the Academy, and the doughty English
manager held her as his trump card in the battle
royal which ensued on the opening of the Metro
In the twenty years of Mme. Pattl's absence
from New York Mme. Nilsson. who had come to
the metropolis in the heyday of her European
fame in 1870. had won her way deep into the
hearts of the people. In 1883 she was no longer
In her prime, neither her voice nor her art havinff
stood the wear of time as well as those of Mme.
Patti. who was six months her senior in age
and five years in stage experience, but she was
more than a formidable rival in the admiration of
the public. She was no less happy in the com
panionship of Mme. Sembrich as a junior partner
than Pattl was with Mmc Gerster. Both of the
younger singers were fresh from their first great
European successes- Three years later Mme. Ger
ster' went back to Mme. Marchesi, he,r teacher,
with her voice irreparably damaged. "The penalty
of motherhood." said her friends; "the result of
worry over the failure to hold her place in the
face of opposition," said more impartial observers.
Mme. Sembrich went back to Europe to continue
her trhnnpha after disaster had overtaken her first
American manager, and in a decade returned, to
remain an ornament of the Metropolitan ever
In Mr. Abbeys ranks were also Mme. Fursch-
Ma*>. Mme. Scalchi. Mme. Trebelli. Mme. La
blache (who gave way to her daughter till a quar
rel over her between the impresarios was deter
mined.!, and Mme. Valleria, who had come to the
Academy some time before from London, though
she was' a Baltimorean by birth-a sterling artist
who is remembered by all connoisseurs with grat
itude and admiration. Chief among Colonel Maple
son's masculine forces was Signor Galassi. a some
what rude but otherwise excellent barytone. At
the head of the tenors was Signor Nicolini. the
husband of Mme. Patti. who sang only when she
did. but not always. The circumstance that Mme.
Fatfi i.iststed upon his engagement also when
ever she signed a contract gave rise to a malicious
story to the effect that she had two prices, one of.
let us say merely for illustration. 6.00 V francs for
herself alone, one of 4.000 francs for herself and
Xicoltnl. The rest of the male contingent was com
posed mostly of small fry-Vicini. Perugini and
Falletti. tenors; Cherubini and Lombardini, basses,
and Caracciolo, buffo. Mr. Abbey had carried off
three admired men singers from the Academy—
Campanini, Del Puente and Novara— and brought
an excellent barytone. Kaschmann, from Europe,
and a redoubtable tenor, Stagno.
There was little to interest a public supposedly
weary of the hurdy-gurdy list in the promises
made in the rival announcements. Colonel Maple
son held forth the prospect of Patti in Gounod's
"Romeo et Juliette" and "Mirella" (both in Italian,
of course), as well as in Rossini's "La Gazza
ladra." a forgotten opera then and again forgotten
now; other old works which were to be revived for
her and Mme. Gerster were "Crispir.o c la Coraare"
and "LElisir d'Amore. " Mme. Pappenheim's pres
ence as the dramatic soprano of the company (a
less necessary personage in the companies of that
day than now) led to the promise of "Norma" and
"Oberon." Only the Italian work was given. Mr.
Abbey's book of good intentions embraced twenty
four operas, all of them familiar except "La Gio
conda," which nad Veen the novelty of the pre
ceding London season.
The outcome of the battle between the opera
houses was defeat for both. The Academy of Mu
sic survived for two m ora campaigns, out of which
the new house came triumphant, while the old
went down forever. It was different with the men.
Mr. Abbey retired after one season, forswearing
opera, as he said, for all time; Colonei Mapleson,
though defeated, was a smaller loser, and he w«
not only brave enough to prepare for a second en
counter, but also adroit enough to persuade Mme.
Patti to place herself under his guidance again.
Mr. Abbey's losses have been a matter of spec
ulation ever since. It was known at the time that
at the Fifth Avenue Theafr* With her In t&m\gQ'\
will b<» the McNaughtons, the El City Four ts4 %
Laddie Cliff . !
"The Naked Truth", will be the chief feature of ]
the bill at the One Hundred and Twenty-fifth Street'
Theatre. La Sjlphe, Mr aad >!-• Robert T. Haiae*
and other well known performers will appear.
Bernard!, .in Italian "quick change artist." wjj
be ••-. special feature at Hammersteln's Roof Gar
den this week. Gertrude Hoffman. Lyons aad
Parker, Horace Goldin. Nellie Floret and the Six
English Rocking Chair Girl*, will aid In the merri
ment. Several well known performer* will appear
to-day at the .concerts.
There will b* a special display of fireworks to.'
night and to-morrow at Brighton Beach la con
junction with Pain's fine exhibition of "Tin
Destruction of Jerusalem."
Both Dreamland and Luna. Park «-• "-'irtef
public favor these hot days. There was an un
usually large crowd at Luna Park yesterday.
"The Man Hunt." "The Merrlmae and the Moni
tor" and "Night and Morning" are a. few of the
novelties in the "Court of Luna."
Dreamland has numerous places of amusement,
among them "Creation's Awakening." Saturday
next the saleswomen of the various department
stores will visit Dreamland, and every week there
after various organizations wtll be the guests at
the management.
Maurice Levi and hla band are e.t Manhartaa
Nat M Wills will head the bill this week at
Brighton Music Hail and will be assisted in an»
Ing the audience by Virginia Earle. the Tots .rac»
Trio, the Six American Dancers and Jutte Rln».
Among the numerous features of Bostock's anW
mal show at Dreamland are the little "cave, d veil,
crs." Blondin, the trick elephant, is adorn* •«
days with a "Merry Widow hat."
he had lost all the profits of three or four other
managerial enterprises, and a year ago I feared
that I might be exaggerating when I set down it*
deficit of the Metropolitan Opera House 1: ita
first season at $300,000. As I write now, however.
I have before me a letter from Mr. Ma a
Schoeffel. who was associated with Mr. Abbey as
partner, in which he says that the losses of £•
season were "nearly $600,000."
[Copyright. 1908. by H. E. Krehbiel.l
Parliament Plans to Pilfer It from
.Father Time.
It Is not Intended to steal from Time wantonly or
In a spirit of malice. Science has the friendliest feel
in? for the venerable gentleman, and would not taks
from him a second or vested rights without tjm
pensatlon. It will be a most honest theft, and
whatever is taken at one season will be restored at
another, so that Father Time will not be short a
his accounts at the end of the year. If ■ ana* is
filched In summer, a week will be restored to ths
universal timekeeper during the winter months.
More daylight in summer is the article waated.
You might think that th» sun was the proper I*l
to apply to. but Mr. Willett declares that Time ra
the responsible party. We have the daylight, only
our clocks fail to apprise us 9t the fact. Chaas*
the clocks, filch a few minutes from Father Time
in the darkness of the summer night, and the cum
mer day expands like an accordion and become*
long enough for the reading of -Winston Churchill's
longest novel. If we do not dwell upon the Moral
aspects of the transaction, it is wonderful to thick
of the money there Us in an elongated day. What
an economy In artificial light, what a gain in horse
power and labor power t The yearly saving in lizSt
for England alone- Is estimated at J12.500.y00.
The plan la to set all clocks twenty minutes ahead
between the hours of I and 3 a. m. for four suc
cessive Sundays in April and let this lengthening
of the day stand until the month of September. At
the end of the month of April the alarm clock
would merrily ring at 4:*) a. m.. meaning that it was
6 o'clock and time to hustle for breakfast mat the
train to the office. The ordinary worklngman would
rise at the witching hour of 3:W a. m.. but he would
not feel at all sleepy when he found that i: was hi*
regular hour of 5 o'clock. Only twenty miautas
stolen from the darkness four times in a month
would bring the daily time theft up to eighty min
utes, adding seven days and fifteen hours of day
light to the summer season. Not every caa
appreciate the advantages of seven days asd fif
teen hours added to work time. It would prac
tically save employers the expense of vacations.
The labor unions might object, but they would b»
told that the lengthened summer day would t»
made up by curtailed winter days, eighty intnatM
gradually added to the nights from the month of
September. The farmhand aJone. who works li
summer and has no chance of compensation in win
ter, would have a valid objection to an eighty min
ute lengthening: of the golden summer hours.
It is alleged that the plan would cause no di—
culty even with railroad time tables, since the *•
tion clocks would be regulated between 1 ar.«i^l
a. m. on Sundays in April, when there is little tra.*
flc. Citizens would presumably set their clocks and
watches twenty minutes ahead on four Sararaa*
nights in April.
Sir Robert Ball, professor of astronomy at Cam
bridge University, is quoted as enthusastically r>
voring the robbery of time. ' He thinks there are ■»
great difficulties connected with the scheme. j*a*
sunshine is so extremely cheap that we ought •
have more of It Apparently Sir Robert believes *
would be a fine philanthropy M hand out *"l"j»
minutes of sunshine ■ day to the common peopla.
It would be the same as money, for time is money.
Each person who received this ' gift, by graca c.
mathematics, might consider that his wages ««»
Increased about $2 13 a week. Of course ttis ta
crease would not be so vulgarly realistic as to "•
observable In the pay envelope, while the recip««
of the time gift could not selfishly h-^ar-1 the extra
eight hours, but would have to enjoy them ! " a*
lengthened period of labor.
According to Consul General Georsre E. Ander
son, of Rio de Janeiro, there seems Co be cons,-
erable activity in the orchid exportir.i bus:=«*
of Brazil, and the United States has a great Por
tion of the Increased business. He continues:
Most of the orchids taken in the past sa^
been shipped to England, where there are a nunj
ber of great houses doing a world-wW* busl3a 1 . 1
In such plants alone. The increased '"JiXW^
them in the United State ha- '«>*• «£«&*•
from European Interest. While the r'a";* a
somewhat difficult to handle with »**« Si jo««
commercial way there i» comparatively ""£ ua jj
from damage in transit. Sometimes t..e P k
are packed In baskets, an averas« of iWJ -
hundred in each. Other firms ship them .- v^
dally constructed cases with nsuen t *sSsjo»
in a CSS*. The average value or j£«* i gS»5
out of Rio de Janeiro is substantially .H.» «f
plant In Rio de Janeiro Harbor. Th« JJf^Lj
th* finer and rarer varieties secured *»»J£*S
%a comparatively a small item in t.ie • """$ jj, #
standard varieties forming the va.st t>ui»
business. . ..-net!'*
There are something over six thousand v: »" c ati .
of orchids recognized and described ? > »"* i 9
thorities in the botanical gardens of i»«; ef
Janeiro A very large portion °f ,"',". 1 nttl«
plants is composed of varieties walCfl na .jU et!.s»e t!.5»
or no value from any standpoint. s<ome »* tfte=l
are very common, while a great man? _ *><■ p$
are rare enough to conn f r«rti ♦ ;•> M gaal
here in Brazil. Other varieties are ye:> ***&*«
the value of specimen* la mostly fl " c f l \, k '> r « a t:?
collectors will pay for them, varylnS *' s j
from time tj time. Probably ti.iec-to ..ri » .;*i
the buslnr s*. in value, la in loss than a "•
varieties of the plant. — Consular Kep«'«-
A distinguished traveller and »■''•" corr '. s 2r I wf at*
on a lecture tour in Scotland spoke or.a ni»' t .
little village four miles from a railway-*;-^,^/
The chairman of the occasion, a^er u«£~ •#
the lecturer •» "the mon whaa i orn ?J , tS it *
broaden oor Intellects." »aW that fee ten
wee bit prayer would not be out or P ia v iT , o . tS*
•And O Lord." he went on. •P" '' a^LllH
heart o' this mon t*# speak the tr " l i , r j.i
truth, and naethlnj; but the truth, and «'• «» •
ta« understand htm." „,„ .hairs** 3
Th«n. with a elance it the lecturer, *. B# V.. j«a>
I vt b««u a traveller meself. -•

xml | txt