The San Francisco Call. Newspaper, February 4, 1906, Page 23

. WITH THE PLAY Y BY ZBLANCHE PARTINGTON re > 0P s Oopep Mike! he another nots s It It he g perdie—on gged aited for one's astonis was he Alhambra tween acts.” could see her, and we had wn r pride Calve had told me f designed it. Hand- ired it as. like some bloom, Ca P is an. It was not particular- we. he ed it 1 was a ea Calve—tall, essed as simply as possible ed in the splen- and I ‘11anflsedi in less, shimmering ca- being fringe, 50 sald 1 Calve it was speak- hose Circean note was still air; Ive, who had d scalp at her perhaps that, she had sworn other story. s so proud of s0 hard! She t She had all angelically d then we re- | the dressing- on Thursday I had gone to vitably. stood inkling she it suggest- | teachers, telling her of the one I had re- saddened air, and asked: “If Mr. Abbey pleased, had she to go home now?" It came up again about the Carmen the other morning. She did not want to be reminded always of Carmen, Calve sald. “I am a very plain and simple person,” she put it, raising her delicate eyebrows. “Why should I, any more than you, or any other lady, be always at a bal fasque, in disguise? J'al horreur of the theatrical woman. Even, I wear nothing in concert but black and white to avold the Carmen suggestion.” Calve's gloves came off here, with a quick, nervous pull. -Her friend teased | Ber with: “Why don’t you keep them on to throw out of the carriage—as you did yesterday 7"’ Calve iaughed: “I cannot wear them!” and then, seemingly to justify the scorn with which she held out the poor things— one cannot imagine her unkind even to a kid glove—she added: *“And Bernhardt cannot wear them. There is a reason— yes-s-s, Onme breathes more with the hands and the feet—yes-s-s—than with any other part of the body. How, from this, the teacher of singing came up I don’t know. Naturally bere, however, I asked something of Calve's ly met here, Henry Russell ager, her eye- | ee, 1 carry the | olor. I am want not me faith was here s roses, tied the great accept t m; she e came from ad the honor would be mber all ept the flow- with en- the her humble e free day it the P— dark. e wore at Sat- " she sighed, She and | Very fine professeur,” Calve said of Mr. Russell, and then comprehensively answered, ““Everybody and mysel: ‘when I asked as to her other masters. “One learns something from them all,” the singer said. '“‘As soon as I hear of any one who knows anything about the voice I go to them. It is not all the voice —I am intensely interested in personality, very curious about people. I have tried everything, all methods, one may say,’ she summed up. That she wishes to found a school of music for girls, in her own home, Calve told me then. There is to be taught—for it is surely to come about, this school—everything pertaining to the operatic stage. “The poor little ones!"—the singer's hands clasped in pity—"often they sing like an angel and walk across the stage like a duck! That must not be. We shall change all that, my children.” “But there is so much that cannot be taught,” I ventured. “How to make your audience lke you, for ex- ample—" Oh! those Calve hands and eyebrows! In words she put it: *“You must give to get. If you give yourself to your audience they will give themselves to rou” “But that is exactly what 8o many singers seem not to know how to do,” I adventured again. “Can it be taught? It seems, with these, as if the current etween their genius and its audible | ssion is somewhere cut—the trol- And I thought this was more y evident in concert singing. | Calve said, “in concert one e one’s own atmosphere; in to opera it is created for one. It is always has to cre: more difficult, the concert. One has there to be one's self.” “Is it more difficult to be one's self than some one else?” “Quelquefois!” laughed Calve; “‘some- times, yes. But the Latin peoples do not hide much of themselves—" “Not even their faults,” terpolated. ‘One’s faults are quite as interesting as one’s virtues,” Calve thought. A knock at the door, a small boy and a small, interesting-looking parcel for Calve. Without much curiosity she opened the parcel and out of its wrappings ame a tiny., bronze Buddha. “Ah!” she cried, “but this is nice But it was at the accompanying card, that of an artist compatriot, that the ger was looking as she spoke. And then Calve put the Buddha to her lips. “I love him,” she said, and: “Yes! I believe in him! I belleve in them all! Buddha, Confucius, Brahma, all of the friend in- them!” Naturally this led to Madame Calve's well-known occult leanings, and she told me of her travel in Egypt and Eu- rope at the feet of the gentle Hindoo age, Swami Vivekananda. Quaintly n the connection came this: “I am a old soul—and a very tired one.” ut, madame!—" Yes-s-s-s—" an indescribable pretti- ness in this “yes” of hers, “it is true, I am mortally tired.” , she could not look so, eyes bril- nt as the morning, lips living red, nd be this. I told her, “But yes-s-s-s.” It was not long after this that she said, In connection with the loves of a well-known singer (who is more) that one cannot love after forty. As the or- acle at Delphi, with the unutterable - AN AT AT CcOPY OF A F E JAPANESE PAINTING THAT WILL THE COMING EXHIBITION AT THE INSTITUTE OF BY HENRY T. BOWIE OF BAN MATEO, ¥ g EXHIBITED AT IT IS OWNED —_-- - - W - - -—— W | hated her! profundity of all the ages, she ad- vanced this. Timidly I asked her what did she know about it, for even her worst enemy does not accuse Calve of being forty. “Everytning,” she thought. “It i triste, yes, it is terrible; but it is trud Evidently, she was posing as forty! and to the lady Osler I answered: ‘“But you could not have sung as you sang last night—it was love made vocal been incapable of love!” And Calve, in the fullness of her beauty, with the most adorable little air of sad- ness, sald: “I sing on my remembances, mademoiselle.”” “You cannot sing well when you are in love,” she told me then. ‘“What has one for one's art?—One gives all to the man. When one is in love, one’s art is always bad. That’—presto! There was another Calve here, incredibly roguish, “that is why I always played Carmen well, I never loved a tenor!” “Nor any tenor”’—? “No tenor ever loved me,” laughed, but solemnly averred, Calve “It is ! true, and you know, mademoiselle, there is nothing very attractive in a greasy, painted face!” The little notary? Mais, c’est charmant! Once upon a time Calve secretly adored a little, sandy-haired notary. She was a young girl and poor, oh, very poor. The notary would not look at her. ere was another girl, not at all beautiful as was Calve, but rich. The notary pald to her his well-trained addresses. How Calve But the notary married her. Then Calve became rich, became famous, but never forgot the little notary. At jplast she went home and then set out to 8he Dbought | subjugate her early idol. some land, gave him the business of the | sale and generally flattered the poor liftle sandy-haired gentleman half out of his wits. Then next day, as he was prepar- ing an elaborate bow for his illustrious victim, she gave him a fifty below zero glance and went home happy. One verson, perhaps only one, has ever been able completely to awe Calve, her mother. She it was who, in spite of the young girl’s longing to be a nun, forced her upon the stage, discerning her talent at a very early age. She it was who, at Calve's debut, as Marguerite in Belgium, literally shoved her upon the stage at her first entrance. Strange, with this, that there has never ‘been the slightest sym- pathy between the two. Her father, gentle master of a rose garden in old Cazaville, was Calve’s dearest friend, the merest stranger could hardly have been colder than the mother. She had never praised a single perform- ance of Calve's up to a few seasons ago in London. There for the first time wi produced Isidore de Lara's ‘“Messalin For this Calve, who was to ‘create” the chief role, sent for her mother, all the way from Cazaville. The night was a brilliant triumph for Calve. After ft, glowing with her victories, she came to the mother. “Well?” ghe asked her timidly. And her mother sald: “What tremen- dous feet you have, Emm: Perhaps, who knows, this is one reason for the wistfulness in Calve's eyes. WEEK'S OFFERINGS AT THE THEATERS “Woodland,” the Pixley & Luders musical fantasy at the Columbia, will begin its second and last week to-night. The plece 1s pretty and amusing, and has attracted good audiences. Harry Bul- ger, as chief comedian, has made many friends, and the cast is throughout ade- quate. Following ‘“Woodland”” comes ‘The County Chairman,” another Savage pro- duction, with a new presenting company, that, however, includes Zenaide Williams as the milliner, and George Thatcher, both hits of the first production. s s e “Sweet Nell of Old Drury” is still run- ning at, the Majestic. The Australian players, headed by sweet Nellle Stewart, have made many friends here. and the production has aroused unanimous ad- miration. They begin to-morrow evening thelr third week in the play, that can be universally recommended. TR S The Alcazar revives “Old Heidelberg” this week, one of its perennially suceessful revivals, and next week will present, for the first time in America, another ro- mance of German student life, “Alma Mater.” o v e To-morrow evening the Tivoll will again change its bill, in spite of the success of “The Brigands.” “The Geisha” will be put on and will be many times welcome. It is several years since the pretty opera was glven, and the Tivoli promises a handsome revival. There will be a new prima in Cecilia Rhodes, who s to sing the O Mimosa San. The Alhambra will have this week a farce comedy, ‘A Runaway Match,” in which the fun is said to be fast and furious. R “'Way Down Bast” will continue for another week at the Grand Opera-house. The rural drama is meeting with its usual success and is exceptionally well pre- sented. . “Emir,” Luigi Rossi’s Cossack stallion, headlines this week's bill at the Or- pheum. Emir blows a horn, plays on several other instruments in perfect time and tune, it is said, and otherwise musi- cally distinguishes himself. The Barow- skys, comedy acrobats, in a sketch en- titled, “In the Woods;” J. Francis Dooley, Dorothy Brenner, and Ethel Rose, in “The Clubman and the Dancing Girls,” and James H. Cullen, monologist, are others new and promising. D «Drury Hart and Hattle Richardson, in | In the Zoo, a magnificent specimen of the | m#tter of education for the young musical | solos, a conspicuously unimportant cir- | cumstance, by the way: a skit called “The Try Out,” will be tried out at the Chutes this week. They are' great favorites East. There is a new star sea lion. . . Miner's Americans will be at the Cali- fornia this week. WORLD OF MUSIC , DURING THE WEEK That was a notable little concert given last week by the Minetti Orchestra, notable in itself and also as showing the handsome progress made by this earnest band of amateurs. Mr. Minetti is to be warmly congratulated on the excellent material to his hand, as the orchestra is to be congratulated on the spirited and intelligent leadership of the conductor. These have never been in better evidence than at the last week's concert given for the beneflt of the library fund, which it is to be hoped benefited substantially. Perhapg of the following good pro- gramme the Leoncavallo “Pagiiacci” se- lection was the best example of both the conductor’s gifts and the orchestral equipment. There were rough ends, of course, but remarkably few, and the whole went with a fine dramatic swing and remarkable obedience to the pic- turesque baton of Mr. Minettl. Fine, clean work again was the overture, the “Willlam Tell,” that one has heard worse given professionally not a few times. The very capable string contingent showed up gracefully in the Boccherini ‘‘Minu- et,”” and the Schumann “Evenihg Song” again demonstrated the firm grip of the leader upon his young followers. As a idea there is nothing better than the or- chestral school, and one could ask nothing more genuinely musical and inspiring in this way than the Minettl organization. Here is the programme in full of the concert. It will - be observed that Joaquin 8. Wanrell furnished the vocal Rossini, Willfam Tell Overture; Chopin, Funeral March; Vérdi, Recitative and Cavatina from “Nabucco” — Joaquin 8. Wanrell. Leoncavallo, selection from “Pagliacei’”’; Alvarez, “La "Partida’— Joaquin S. Wanrell. Gluck, Gavotte Ar- mide; Schumann, Evening Song; Boc- cherini, Minuet; Auller, Masaniello Over- ture. Alfred Reisenauer .comes this week and the name seems to prelude a treat. Few pianists have received the extrava- gant commendatioh that has been lav- ished upon Mr. Reisenauer, bpth in/ Eu- rope and America. His technique is declared to be unassailable and his in- terpretations ~of the noblest order. Wéll, we shall see for ourselves this week. Three recitals the pianist is to give here, next Wednesday and Friday evenings and a Saturday matinee; the place Lyric Hall. Following are the programmes — rather curlous pro- grammes it will be noted: Tuesday evening, February T—Prae- ludium und Fugue, D major (Aus dem wohltemperierten Clavir) (Bach); Pas- torale and Capriccio, E Tinor, E ma- jor (Scarlatti); Fantasia, D minor (Mozart); Sonate, F sharp major, Op. 78 (Beethoven); Fantasia, C major, Op. 15, “Wanderer” (Schubert); Arabeske, C major, Op. 18 (Schumann); Three Etudes from Op. 10, Op. 25 and Op. 112 (Chopin); Momento Caprigcioso, B flat minor, Rondeau Brillante, E flat major, Op. 62, Polacca Brillante, Op. 62 (Weber). Friday evening, February 9—Grand Sonate, F sharp minor, Op. 11 (Schu- mann); Bagatellen, F major, Op. 33, No. 111, B minor, Op. 126, IIT (Beelho\'en)’,; Polonaise, C major, Op. 8 (Beethoven); Moments Musicaux, C sharp minor, F minor (Schubert); Serenade, D minor, “Hungarian Marche” (transcribed by Liszt); Ballade, F major; Grande Valse Brillante; Berceuse, D flat major, Op. 51; Polonaise, A flat major, Op. 53 (Chopin). * Saturday afternoon, February 10— Theme with' variations, E major, “The Harmonjous Blacksmith” (Haendel); Grand Fantasia, Presto C major (Haydn); Fantasia Alla Turca, A minor (Mozart); Fantasia, “Die Wuth uber einen verlornen Groschen, ausgetobt in einer Caprice,” G major, Op. 129 (Bee- thoven); Sonate, B minor, Op 58 (Chopin); Impromptu, A flat major, Op. 90, No. 4 (Schubert); two “Leider ohne Worte,” (a) “Spring Song”—A major, (b) “Spinning Song"—C major (Men- delssohn); Barcarolle, F sharp major, Op. 60 (Chopin); Valse Impromptu—aA flat major, Hungarian Rhapsody,” E major (Liszt). lidtdnbed NOTES OF PLAYS AND THE ACTORS G. Bernard Shaw has taken a definite stand against the newspapers of Amer- ica generally and against press clip- pings from them in particular. It all came about because the newspapers talked about him too much. Here is a letter which he has just written to Burrelle, the press clipping man in New York: “I never want to see an American paper again. You have cured me of vanity, of curiosity, of,ambition. You have shown me that modesty and re- tirement are sweeter, easier and much cheaper than publicity. & “I find that the average charge .for press clippings Is about $3 74 per item of news. There is one paragraph con- taining five lines of nonsense about my whiskers, of which you have sent me scores. Now, I do not blame you for this. I told you it would happen to subscribers like me, Wwho have silly JAPANESE PRIN It is just .a half century since Com- modore Perry sailed gayly around the | globe to Japan, knocked at the door of The Little Brown Men’s Land. and after a Wttle parleying, more or less polite, was bidden to enter and make himself at home—in the hallway. . Since then the hospitality of the Lit- tle Brown Men has been extended, not only beyond the hallway but on to the sacred places of the island kingdom— into the art of the land—than which no people hath more sacred thing to re- veal to its neighbors. Of the commerce of Japan, of its na- tional life, of its military and naval achievements, of its strides in foreign lines of knowledge and capacity, of the charm of its people, and the spell of the country that obsesses, all these things have been revealed ‘to us since the day that Mr. Perry called, leaving his card for the astonished Mikado, with R. 8. V. P. In the corner—which, let it be said in passing, was hardly good form, since the Mikado hadn’t even the pleas- ure of Mr. Perry's acquaintance. In due time, however, the polite Mi- kado R, 8. V. P’'d, and that's what makes the little story possible. However, that's another tale for an- other time. During the years that have passed. Japan has been principally regarded by the rest of the world as a place to trade with and a placé to play in. But during the last ten years it Is coming | tered In an art exhibition in Japan. to be regarded by the open-minded as a place to learn In—especially along lines of the beautiful as expressed through thé works of its painters. ; “Now, for the first time in any part of the world outside of the Land of the ‘Wistaria will foreigners be permitted to view an exhibition of the true art of;| Japan. And that exhibition will be held at the Institute of Art, under the direction of the Japan Soclety of America and the Art Assoclation, be- gloning February 10 and continuing fo: ‘three days. i But list ye, friends, who have wor- prin shiped - before a shrine of prints—ye | lar rela who have madly, adoringly, passionate- ly gathered together Japanese prints of “priceless” value and prayed to them—n ts shall °a§3m:pm: simplest of reasons, be admitted And for the | WELL-KNOWN _OPBRA _ SINGER WHO RECENTLY APPEARED IN CONCERT IN SAN FRANCISCO. — little jokes copied from paper to paper throughout the States. I therefore confess that I have had enough of it. The day you receive this send me a final account, erase my name from your books and never let me see the name of Burrelle again. “I wish you well. I forgive you. Thank you. Bless you. And farewell “G. BERNARD SHAW."” « o . “I do wish,” sald Ernest Tamson, “that these fiction producers would be a little more careful in thelr descrip- tions of people. I have become hard- ened to a girl with eyes like violets, lips like cherries and hair llke spun gold; though such a one must be a creature fit only for a dime museum.” “But here is my favorite French feutlletonist, who says, ‘The- man’s hands were cold and clammy, like those of a serpent, and ‘The Count walked up and down the garden reading the newspaper with his hands behind his back.’ Now, wouldn't that jar you?" PR — Annie Russell becomes a Wagenhals & Kamper ‘star in March. She opens her tour under their management in Boston. « s Manager Rudolph Aronson has completely outlined plan (highly a in- dorsed by Jean de Reszke and other | eminent artists) for the creation of a fund for the purpose of giving two con- certs annually with orchestra and dis- tinguished soloists in London, Paris, Berlin, Vienna and Milan, at which worthy American musical students will have an opportunity of making thelr first publlc appearance free of any charge to them whatsoever. This prints are not expressions of art. but of artisanship; that artisans have created them, not artists; that prints, generally speaking, present themes and conceptions that are not tolerated in polite society, being the work of mate- rial and commonplace men; further- more, that prints have never been en- Revolutionary, assuredly, and even shocking. to those of us who fondly believed that we knew a féw things about Japanese art. : But friends, I have it from the lips of the best authoritfes at hand—Shimada w would fill a long-felt want. . . . - . Leoncavallo, the famous Italian com- poser, will conduct here next season a series of opera-concerts. His “Pag: liacei” is to be rendered in complete form with artists selected by the maes- tro in Italy (the orchestra and chorus, however, to be chosen in this country). In addition to “Pagliaccl,” orchestral excerpts from Leoncavallo’s “Chatter- ton,” “Zaza,” “La Boheme” and “Young Figaro” are to be interpreted. s e E. H. Sothern and Julia Marlowe will be here in the near future in a repertoire including “Twelfth Night,” “The Merchant of Venice” and “The Taming of the Shrew,” in which plays they are creating the most notable im- pression wherever they appear. ———— AMERICANS IN LONDON x DUPED ON ART WORKS Faked Treasures Are Sold to Them by Dealers as Genuine Articles. LONDON, Feb. 3.—Faked gbjects of art are at the present moment more conspicuous than ever in London “art” shops. The other day I chanced to call at a well-known establishment which has a big reputation here and was speaking to the principal designer, who was showing me a varlety of objects of art, some of which were fakes so unmistakable as to be observable by any one with the most casual knowl- edge of the value of such things. “So,” I said, “you hope to sell that ‘thing’ for a real Louls XV cabinet!” “Why, ves,” he replied—“to an Amer- ican. Pierpont Morgan, who recently learned something about art, is trying to educate his country people and in time may accomplish something for them, but to-day most of them can be gulled into belleving a mahogany side- board is a Sherraton masterpiece.” But it is not alone rich Americans who are taken in. Despite the various exposures made of the methods of fak- ing the antique and freshly manufac- turing oid furniture, the business still flourishes and 80 clever are some of the products that even experts are de- ceived. Etruscan pottery made at Leeds is shown as rare at the Conser- vatoire des Arts et Metlers in Parls; view these pictures I beg that you exalt yourself to the heights of your spiritual- ity; no mere materialist may get out of them their full meaning or their real beauty. It is the unexpressed thing—the repression—that encourages the imagina- tion to search for and to discover the sug- gestion to the senses. Herein lies the joy :‘fl -:;tbtnou art—and for that matter, of In the exhibition will be 150 paintings, some upon silk, some upon toshi, a kind of Chinesc paper, others upon torinoko or ancient Japanese paper, and the rest upon every one a beautiful scheme of n af symbolism. They will consist of water colors and sumiyea, the latter done In a medium ancient glassware really from Cologne figures at St. Germain Museum: and Greek and Roman gems, medieval pas- toral rings, chiseled work, and Renais- sance enamels are made in vast quanti- ties. Fine “old” tapestries are produced by burying them in the earth for a while, then disinterring them, tramping on them, drying them on one side in the sun, picking holes and burning them, driving nalls into the edge all round and tearing them out to make a ragged appearance, then mending the holes, tearing them out again, and then mending them several times more. The possessor of a bogus antique of any sort, as long as he believes it genu- ine, gets as much pleasure from it as if it were the real thing. f A — ANOTHER AMERICAN WOMAN TO ENTER ENGLISH SOCIETY Ladys Evans Plans te Go In for Enter- taining on a Gemerous Scale. LONDON, Feb. 3.—Until last season very little was heard of Lady Evans, either among English or American so- clety women, but it appears that she has now decided to follow the fashion set by her countrywomen and go In for entertaining on a generous scale. She is the daughter of the late Samuel Ste- vens of Albany, N. Y., and her many years' residence in England has not de- stroyed any of her, striking American characteristics. She dresses in the smart American style, she likds Ameri- can dishes, is fond of the theater and the opera-house, and is bright and wit- ty In conversation. Her three sons bear rather unfamiliar Christian names, her maternal family name of De Grasse being retained in each case. They are Marcus de Grasse, Muriand de Grasse, Jocelyn Herle de Grasse and the Bnly daughter is Gladys de Grasse. Apart from her own fortune her husband, who s one of the princi- pal owners of the Castle Union Line of South African steamers, is sufficiently wealthy to allow her to take her place in the best of company. Both her town house and her lovely place at Orping- ton, in Kent, have been in the hands of the decorators for some time, and the structural alterations at both places in- dicate that Lady Evans means to en- tertain large partles during the coming season. —_——— Carrie Swaln to Reopen Case. PARIS, Feb. 3.—Mrs. Carrie Swain, formerly an American actress, vows that she will reopen before the courts next May her suit to establish the le- gality of her marriage to Frank L. Gardner, once an American theatrical manager, now a millionaire and patren of the turf. Mrs. Swain announces that she has discovered the man in San Francisco who was a legal witness of her marriage to Mr. Gardner there. Mrs. Swain lost her last suit in the French courts against Mr. Gardner. In his closing address then the Attorney General said both parties had been knowingly playing a comedy and that, although Mr. Gardner was morally bound to provide for the woman, thers bhad been between them only an asso- cilation that endured fifteen years. The court forbade Mrs: Swain to call her- self Gardner. It may be significant that Mrs. Swaln announces, too, that she will soon launch herself as a pro- fessional opera singer. She i3 now holding receptions here, Inviting the chic world to her salons. Mr. Gardner and his French wife, who was Mme. Lo Glay, are on their way here from Aus- tralia. —_— Sorel Has Famous Couch. PARIS, Feb. 3.—Mille. Cecile Sorel, the beautiful and brilliant actress of the Comedie Francalse, reposes, dreams of her triumphs on a bed that, to speak sordidly, is worth $30,000. Mile. Sorel, as all the world knows, has been nearly deafened by the plaudits of a public that worships her. The mighty have bowed at her feet. It was in her sump- tuous home that a former President of France was stricken with the sudden disease that carried him off. She pos- sesses everything that is supposed to make a lovely woman happy. And she is happiest in the possession of this bed, which, dating from the days of the French Renalssance, is perfectly pre- served. The reason? There Is no other bed in the world like it. Let other women ransack old chateaux from Ca- lais to Nice, Mlle. Sorel is certain that her couch cannot be duplicated. —_—— Royal Divercee Hides From the World. PARIS, Feb. 3.—Princess Louise of Belgium, as the divorced Princess Phil- ip of Saxe-Coburg is now styled, has taken a quiet house in Paris, where she lives, as she expresses it, “very simply, in retreat from the hard, unsympathetic world.” The Princess sought this re- tirement only after a visit to the Ri- viera' and the scenes of her most dar- ing escapades. “I have created for myself a pleas- .ant circle of estimable friends her Princess Louise said to the correspond- ent to-day. “I am tasting the intellec- tual joys of brilliant Paris; T have writers around me, artists, musicians— all that represents the true value of life, and is alien from the cheap gla- mour of artificial dignities.” The Princess acknowledged that she some idea of writing. b"But never, never, will I write of myself, of my past, of all that I hope to forget,” she exclaimed. ————————— Miss Roosevelt’s ‘Homeymoon. LONDON, Feb. 3.—When Miss Alice Roosevelt arrives here as Mrs. Nicholas Longworth she and her bridegroom are to be presented to King Edward and Queen Alexandra. Mr. and Mrs. Long- worth are to come to London soon after their wedding and are to be the guests of Embassador and Mrs. Reid, it is quite understood. S NOT ART, SAY CRITICS —BY LAURA BRIDE POWERS school.