The Observer from London, Greater London, England • 6

6 THE OBSERVER, SUNDAY, NOVEMBER 6, 1949 At the Theatre At the Films Ancient The Open Air The Mind Of A Bird At the Galleries Parisian Artists By NEVILE WALLIS Tenderly Arch By C. A. LEJEUNE Radio An Ambitious Faust By W. E. WILLIAMS AS the climax (I hope) to the centenary celebrations of Goethe the wireless Faust is an impressive feat Last week Part I was twice performed, once on Home Service and once on the Third, in a new translation by Louis MacNeice and E.

H. Statu. Whether it gets closer than any other to the reverberating language of the original is WHAT are we to say about a book of which we may be sure, if civilization endures so long, that it will be read in years as far removed from ours as we are removed from the great historians of antiquity G. M. Young, BJi.C.

Home Servite broadcast. CHURCHILL'S War Memoirs Vol. I Awarded the Sunday Times Prize for Literature 1949 THE GATHERING STORM 2nd Edition Tomorrow IF all the contrasts of Pans, auuci pet imps, uxulcs lilc visitor so oddly as the love of sensuous delight in a people so ruthlessly logical in the realm of pure thought It is a city where the puritan and the philanderer Are equally at home. In the visual arts, soft hearts and hard heads have given us to look no further the voluptuous charm of Renoir and the pure abstractions of Braque and Gris; and most of us will be grateful that a present tendency of French painting 'appears to be away from severe formalism towards a naturalism in which earlier styles have been freely adapted. The exhibition of Parisian scenes by nine Parisian artists at the Marlborough Gallery, Old Bond-street, is another triumph of heart over Royal and By IVOR SINCE Queen Elizabeth Slept Here (Strand) comes from an American original on the dormitive choice of George Washington, it seems that the I Americans, despite the natty and 1 handy equipment of their urban I apartments, are as eager as we are to rusticate in Olde Worlde squalor.

For the Kaufman-Moss Hart play, adapted by Talbot Roth well, concerns this ploy of buying a decaying shack, without benefit of plumbing and with only such water supply as seeps through the roof, a ruin as rheumatical as rickety, and there camping for insanitary weekends. The habit appears to be of universal popularity among bourgeois, town-dwelling people. So, in a century or so. there will be a Russian version of the farce called Stalin Slept Here," and an Australian rendering entitled Where Don Bradman Dossed." There will be little need to alter the text: the 1 essentials of such a farce are i obvious. The townees come, see, purchase, suffer, and console themselves with alcohol, while a rural hind is let loose in the garden and a powerful visitation of pests and insects augments the sense of isolation from the bleak monotony of town -life.

All this occurs at the Strand Theatre. An author is rushed by his wife into occupation of an antique messuage in Metroland. There they set up as hosts to awful I uncle, urs biddable boy, amorous couple, and a considerable number of click-beetles, leather-jackets, and other creepy-crawlies. This provides a couple of hours of hard-worked fun in which Dulcie Gray and Michael Denison play the hosts. They are not natural clowns, but they achieve by industry the farcical effects which others gain by intuition.

Kenneth Connor as a local gardener, gleeful in disaster and ruminative amid horticultural ruin, very nearly achieves the kind of comedy that Cedric Hardwicke gave us long ago when he so richly applied his young talents to the he-ancients of old Devon. Julian Mitchell, as the tiresome uncle, succeeds in the hazardous task of turning an old bore into fair company. Richard Bird knows well ho to speed such plays on their way and a highly competent stage-management keeps the timbers shivering, the roof leaking, the walls a-caving, and the local livestock whinnying and mooing in the kitchen. There is one thing about weekend cottages which the stage cannot contrive. That is the full horror of close confinement.

Whatever be said of Queen Elizabeth's days, the adjective spacious is most misleading. Rooms in the cottage which is a genuine Tudor antique should be tiny, low, dark, and linked by deceptive stairs so that the incomers alternatively crash their heads on beams and sprain their ankles in of to 20 of of BROWN the passages and doorways. A single stage set which does not aim at showing four rooms at once can only give us height and space: so the house-party in this case seem to be colonising a huge barn and no cranium is beam-bashed in the good old way of English week-ends. But there is plenty of violence and enough invention is shown by authors and producer when you think that there is no more to be said or suffered. The first night audience certainly found in the fairly obvious fun of the weekenders' torments cause for a continuous scream At the Bedford ragging the Victorians is followed by pity for the Georgians.

The breeze in Ronald Adam's A Wind on the Heath blows snell over Hampstead, and in three loosely connected acts be shows, down the decades, the stress genteel or Bohemian poverty in the kind of house that overlooks the Vale of Health. The incidents and characters are only linked by the theme of no-money, and the recurring presence of one nosy, cadging old party who is played at various ages by Pat Nye in such a way as make her amusing and almost likeable. John Justin ably presents three very diffent types of young Hampstead in search of a career. The result, though scarcely outstanding, is lively enough and fits well into a repertory. Mr.

Adam has, indeed, written prudently. For each of his acts could be sold singly as a short play, while the trio has some market value as a long one. JESSIE O'SHEA is a comedienne who can turn a music-hall evening into an informal party: she even shifts the piano. It does not matter very much whether you like her songs or not; she bangs them across with vitality and good will, and something of the generous warmth of the old music-hall. Billy Cotton and his Band, who share in the title of Tess and BUI (Victoria Palace), are less winning; they cut self-conscious capers to their own music.

It is. for the rest, a straight variety programme. Norman King, author of Storm Tide (New Chepstow), will be a dramatist to watch. True, this play of his wears at the last into monotony: yet, for all that, 1 enjoyed much of the evening in the presence of an audience of about in a Bayswater nutshell, with one of the cast of four, a short-notice substitute, reading from the script. Clearly not an inspiring frame; but the play an anecdote a deserter on the run and a pair sisters came through with a queer veracity one had not to rephrase its dialogue in the mind.

Mr. King should now try a larger theme and more expansive treatment. His cast (especially Gillian Webb) served him creditably in trying circumstances. J. C.

Trewin. I I i i come off as Miss Hepburn's came off. Janet Leigh as Meg, and night-dark Elizabeth Taylor, playing Amy in a fair wig, seldom emerge as personalities, and although Margaret O'Brien does emerge conspicuously, it is always as Margaret O'Brien and not as Beth. When she lisps I wathn't meant to live vewwy long," it seems the cri du coeur of a talented child actress rather than the metaphysical certainty of a peakish girl who hasn't tne stamina to survive adolescence. With the exception of the late Sir Aubrey Smith, the men in the film are and contemplating Jo's probable future with the nrofessor who sings None But the Lonely Heart" at her.

in Italianate German, I sympathised with her earlier statement, I wish I was a horse." Home of the Brave (Pavilion) is a courageous Hollywood attempt to get a grip on the colour question, through the case of a Negro G.I., who cracks up as a result of ingrown race complexes, directly aggravated by war experiences. The psychiatric solution of his troubles may seem a trifle pat, but the army psychiatrist who handles the case is much less of a playboy than many of his kind, and the patient has something of more consequence on his mind than the artificially-contrived ratnblings of the ordinary Hollywood plot. On 'the whole, this is a very good film indeed, by grown-ups for grown-ups. Une Si Jolie Petite Plage (Rialto) is a tour de force. It reduces the characters in it to nothings, but as a sruoy ot atmosphere it is one ot the most haunting I can remember.

It stars a desolate. rain-sweDt stretch of beach, somewhere on the coast of Holland in the off-season, with a draggled little town behind it fighting for a drenched existence. The story concerns a young man (Gerard Philipe) who has murdered his mistress, and comes back miserably to the scenes of his innocence before he makes up his sodden mind to shoot himself. Everything about the film is grey, and as wretched as the end of a day when you have been dragging round town in the rain with wet feet and no umbrella. It is not the kind of work you would choose to live wjth, but it is inclined to live with you, willynilly.

The File On Thelma Jordan (Plaza) is about a fetching young murderess (Barbara Stanwyck), with whom we are supposed to sympathise, because she shot her aunt only for her emerald necklace, and not because the old lady had made a will in her favour. Personally, I thought Miss Stanwyck did herself surprisingly well, considering. It isn't every amiticide who nearly gets away with murder, and dies with hardly a disarranged gesture in a handsome District Attorney's arms. The Pont des by Paul Mard, a young Parisian painter who is represented in the exhibition of Paris by Parisian Artists," noticed in this column. By SIR W.

BEACH THOMAS A invalid daily watches a tit uvuik uwwuw KYmnoBucs De- fore the window. With feet absurdly far apart it clings to 'the hanging cord and, holding itself more or less at right-angles, vigorously attacks the swinging marrowbone. This, of course, is what is expected of it; and the sparrows; room and chaffinch on the wail of the balcony watch in envy. The next step is novel and hard to explain. The bird flies a yard to a corner under the eaves and pecks more loudly and with equal vigour at some plaster which is almost as hard as concrete.

It has now made quite a nice hole, though there is no chance of driving a tunnel deep enough for winter shelter, let alone a spring nest. After this exercise the tiny creature will often fly to an adjacent balsam poplar, which is its choir-stall, and there sing with perpetual merriment even on the edge of November: A merry heart goes all the way," but some of the ways are baffling. Indeed, the mind of the tit, both blue and great (it may be also coal. marsh and willow), is greatly dis-I turbing the students of birds. One of them, through a no less scientific organisation than the Trust for Ornithology, from its headquarters at the London Zoo, is asking for evidence from all and sundry con-i cerning the bird's latest vagary.

Already the history, with dates and geographic detail, of the onset upon milk bottles is now on record. The practice spread with regular speed and soon became almost universal. Birds, in short, can learn and imitate, and do, especially if it is seen that profit ensues. Now a new form of activity is spreading, it seems, at a great pace English tits in a number of places have taken to paper-snatching They come into houses and tear up wallpaper, blotting paper, newspaper, and labels especially labels, it seems sometimes carrying off bits, but more often merely tearing iuu ii iiuiauiix. mere is lime is doubt, I think, either on the newness of the habit or its sudden extension.

The example that 1 have watched and quoted above indicates that paper is not the only materia that tempts their powerful beaks. They seem to play these tricks, like young men in France, merely for wantonness. The mind of a bird (on which both Lord Grey and A. K. Collett wrote charm in 2 books) is very lively and quick.

It 1 could be much cleverer if it had to be, as Professor Thompson argued; and many sorts of birds, not least rooks, develop new habits when they grow very numerous. Now we have titc 1 almost exclusively bv Drovidine them with nesting boxes, and in the i hungry months supplying food I which only thev and a verv few intelligent and acrobatic others can consume. They are naturailv restless, curious, and courageous, i not altogether unlike squirrels, the I most inquisitive of all animals, and most inquisitive of all animals, and are continually making inquiries. Their habits of food and of hole-adapting for nests help to give their jaws a Father William power, which they desire to exercise, as rabbits their paws. The silly, vexatious little beginnings of raoons an aoout my garden mav be called a parallel to the paper tearing of the tits.

The restless paw and restless beak are on the same plane. Some pernicious practices have fortunately not spread. Beekeepers very many years ago were alarmed by the tit's discovery that if it tapped the alighting board of a hive bees came out to investigate and were easily devoured; but, I fancy, this device, like the duties of the idle don, has fallen into desuetude," perhaps because hives are not so frequent and close to gether as milk bottles. One of the nice points that our inquiring historian ornithologists hope to discover is whether the birds learn by imitation or make a mucuciiuc.il uiocovenes. i In any case birds are very clever, by whatever "boss names" we describe their mentality, and, after all.

reason," instinct, tropism," and such are often little more than mere words. All mammals and birds can learn, and ir, 1 OMEWHERE in the early nineteen-thirties, when the talkies were young, I remember seeing a version of Little Women, with Katharine Hepburn as Jo, Frances Dee as Meg, and Joan Bennett as Amy, that brought tears to my eyes; not, you will understand, by the fictitious sorrows Louisa M. Allcott contrived for the March family, but by doing the thing rather beautifully. Now i wn.n arrivt frm and leaves me aimost dry-eyed; only Margaret D'Rrien a Rrh in one short scene with Sir Aubrey Smith, manages, by childish art or accident, to do what she has to do felicitously enough to touch off feeling. The new Little Women (Empire) strikes me as a very pale copy of the original, in spite of some Technicolor snowscapes like a nice Christmas card (the ninepenny kind), and a highly obliging rainbow that adapts its size to the March roof for the final reunion.

Perhaps the main fault in the film is that it tries too bard to be arch and tender, and the four little actresses who play the March girls have been encouraged to approach their parts with a kind of lisping over-gentility. Morning after morning one feels, as they reported for work at the M.G.M. studios, they were reminded that "Little Women" is a quaint, old-fashioned story, in which robust action and natural delivery would seem out of place. There is something in this notion, but not much. The March girls may have lived in more inhibited times than ours, but they lived all right; except for Beth, who was always a bit of a bore to healthy children, there was nothing vapour- isn aoout them; it was the quick accuracy of the characters that kept the book a favourite while its con temporaries were going decorously out or pnnt.

The four little actresses of the present film seem too elegantly dressed, too smoothly made up in the fashionably uniform style, too carefully coached in a kind of tinkling archaism, to be in the least convincing as members of a practical but poverty-stricken New England family some 80 years ago. They give the impression of a sister-act in revue, and I should never have been surprised to see them put their heads together and burst into a close harmony rendering of Sweet Genevieve." June Allyson as Jo is a pretty but ineffectual successor to the dashing Hepburn. She can be a charming actress in her own way, but it is an intensely feminine one, and femininity is just what is not required of Jo. As if aware of this, she appears to make a strong effort at times to do what Miss Hepburn did, and even to speak as Miss Hepburn spoke, but the style is alien to her, and her efforts don't Bridge By TERENCE REESE THE Inter-City Championship at ui ii, luuiiiajucm was won by Miss I. Curry's team from Worthing.

Ralph Evans's Bournemouth team, first in 1946 and 1947, was second. Superior bidding technique gained points for the winners on this hand from the final round: 7 4 0 9 8 5 97 5 2 10 6 2 i AKQ10 9 5 A 9 8 3 0 7 6 2 A 108 4 863 CQJ OAKQJ4 3 East-West were vulnerable and East was the dealer. When the Worthinc players sat East-West the bidding I went as ionows: EAST 1 SOUTH WEST NORTH 2 0 Dblc. AH pass West's double was very well judged, and so was East's Dass of the donhle Declarer could make only his five I tricks in trumps, so he was down 800 (honours not counting). At the other table, with Worthing; North-South, the first two bids were i the same, but over Two Diamonds West, instead of doubling, bid Three Clubs.

East went to Four Spades Diamonds were led and continued. declarer ruffed and drew trumos. He 1 then crossed to dummy with a Club i 8, aouin winning witn I Q. Declarer used the second Club I entry to take another finesse in I Hearts, but when this lost and the suit "roke was one down. East iook some wronc views.

DUl nts ptay wa no unreasonable. Chess By BRIAN HARLEY Problem No 1.626. Brian Young VVK. -7, ft wn msk mm mm. mm mm While plavj and mafc two motes.

No. I .15. 1 Cov.ard Kev Kr Kit 10 marks 1. kt. 2 K.RH (added): 1.

1 Kt. 2. QS (added). I. QKt any 2.

i Kt Bt (vice BP). I 04. 2. Kt K2 IV rial: 1. KKl anv.

z. Kl 113 (K Q5). 2 added and 3 changed mates in a very ingenious mutate. White KR is lust camouflage. XIMENES No.

US Solution and Notes ACROSS 1, Traipw: 7, Shc-'d; 10, Circ- LcwB-e: 11. Blatc: 12. Roland-, (tor tatsV 14 AU-odiunih 13. See-p 17, Cotfse Chidden); 8 I Larrikin (ian--up. 20 Athelneyt, 22.

Man-it-o-24h Ants Can't): 25. Masseicr; 27, Rondure; 2, Maine (Mc.l, 29. Kme-ma-lics. 30, Say; 31 Misnomer DOWN. I Tuh-B 2.

R-AUen-tato 3 1 A 4. P-red-al 5. Scrfvi-no- 6 (ArDSclm; 7. Swas-ttk-a, 8, Hind-i; 9 te-ccnH: I 3f Dcsmcnee Seam-arfc-t i Pleiades (Taurus 17. Crr.

19, Kantism- 1 21, Yasm-in (yamf, 23, Ninny M.D. v. 25, Mum-ro. 2b. Rear.

wmJLmi iy not a relevant issue, but what can be asserted without risk of demur is ltjK5k.to remarkably terous rhymes gave a well-defined law VftUlVMej. 1 II MllllJ tSIIM structure to the elaborate story, yet aid not suooue tne metaphysical raptures' which sometimes assail Goethe as he piles up the fantastic inventions of his Gothic parable. Music played a vital and organic part in, this distinguished produc tion, and the composer, Matyas Seiber, demon- strated a rare discipline of col-laboration and sensibility. The producer, E. A.

Harding, is a zealot who be-; lieves, rightly I think, that wire- less drama is a dominion of its own and not a dependency the theatre, and he borrowed no make-shift stage in mounting this ambitious of the Soul. He left the mark of his doctrine, too, upon the actors, who were forbidden to practise the freedom of the auditorium in realising their roles, and persuaded to employ all the shades and con-tours of the word. (Those who most fully responded were Howard Marion-Crawford as Mephistopheles, Marjorie Westbury as Gretchen, and Stephen Murray as Faust.) But is it Mr. Harding we must blame for one basic error in this broadcast? How many listeners, on Home Service if not on the Third, could unravel this labyrinthine and elusive fantasy? How locate the changing scenes? How identify the whining beggar at the Easter feast or separate the supernatural choristers from the secular? How could they follow Goethe with only Gounod to guide them? This is no self contained, self elucidating drama, and the clues to its develop ment are not obvious even to the alert and experienced listener. If 31 hours are to be spent in presenting a major work of such complexity, why not spend another quarter in a preliminary synopsis or its plot and Why not even, tor once, tolerate the marginal presence of a narrator to tell us our whereabouts? The first part of the long new poem by C.

Day Lewis, An Italian Visit," was read on the Third Programme by a trio who fully revealed its luminous theme, but were inclined to reduce its subtle rhythms to a measured tread. There were no such foot-faults, however, in the poet's own delivery, a few nights later, of a second instalment rF tli nin I nno 1 1 1 fnn, rtc 0f this impressive and beautiful work will be read aeain. in duel course, at a single sitting. Other i rewards in a weeK ot good listen-1 ing were Victorian Nocturne," a vivacious tableau, in the Frith manner, of London by gaslight; the star-studded tribute to the Old Vic, in which Ivor Brown pithily summarised a working policy for a People's' Theatre; and two captivating profiles by Compton Mackenzie (of Henry James) and Michael Holroyd (of Julius Caesar). To-day's Programmes home (342.1 News g.20.

Mus'c; Remembrance Da Service; 1 'Sloven sonata in Ci: 11.30, Music Magazine: 12.10, ntira. 1.0. Ncws 1.10 Naturalist; uo, cwwren' smgm7'o. I i30- th La s-- Children's PHr- 6-- 6.1s. United wauons; VM.

Homage to Johann Strauss 7.45. Service: SJ5, Good Cause; s.30. serial Plav The 9.0. oie iLecW-3; Voyages of Engl Nanon 18.30. Epilogue; 10.38.

Sinhalese Nes- JO. Tuneful Twenties; 10.0, Billy Cotton 11.15, Orchestral Have A ojuu anw; service ot Kemernbrance: I'lf o11-30, 12.30 m.l,. i ie ii "Oiei Journey inlo Melody, 1.0. I J.wenli' J.30- Cavan o'Cnnnor Smging: Charlie Kunz at the Piano: 3.1S, I Sunday Cinema 4.0. Down Your W.v.

i 5.0. Take ii From s.3fl. I Kio.r 01 tne Kange i 3G We Beg 10 Differ 7.0, News and News. r'" rlaT- Widowers' Houses." by G. Shaw: 10.35- IO.30.

ivews only) Sayings of the Week Cripps is a rtfee guy. But I don't follow the working of his mind. Mr. Paul Hoffman. Mr Churchill needs no introduc tion from me.

Lord Kemsley. 77iey say that Moscow ts the heaven of the Soviet. Well, if that's heaven, all I can say is it's a hell of a heaven. Mr. Edward J.

Dowling. from Indianapolis. Grown-up people like myself grow more and more dismal, talking dismal subjects. Pandit Nehru. English women are badly underrated as far as sex goes.

Hollywood actress Ella Raines. ts the Minister aware that Camembert cheese is often at its best at the very moment when man penplc find it uneatable? Mr. E. H. Keeling, M.P.

1 'CALEDON' JADE GREEN During the early years of che present century, the anthraquinone dyescurTs were developed from coal tar chemicals for use with cottons and cellulosic rayons. These new dyes gave the dyer a range of colours both more permanent and more brilliant than he had had before. But the range was Incomplete there was no green of brilliant hue. In 1921, the discovery of 16 17-dimethoxydibenianthrone gave the world the dyestuff known as Caledon Jade Green. The ingenious piece of research that led to 1 Caledon Jade Green was carried out by Arthur Davles, Robert Fraser Thomson and John Thomas of Scottish Dyes Ltd.

a company later merged in I.C.I. They started with an established blue dye, dibenzanthrone, which they transformed by chemical means into an unattractive green powder, insoluble in water. In the process of application this was convertible into a soluble form, enabling it to be dyed on to cloth, and then oxidised togtve the vivid green shade that is now famous throughout the world. Caledon Jade Green Is especially resistant to laundering and dry-cleaning, besides being little affected by bright sunlight. Its discovery was a maor achievement of the British dyestuffs industry, and ranks as one of the world's five greatest dyestuffs discoveries of recent years, three of which have been the work of I.C.I, chemists.

head; it contains no purely cerebral painting, very little that is caprici ous, and much, on the other band, that conveys the peculiar character and atmosphere of the Parisian scene in idioms familiar to students of painting. Francois Gall, who was seen in this gallery last May, shows, in addition to his spacious impressionist pieces, such as the Pont Neuf glittering under rain, some more recent paint- 'ngs in which the- brilliant palette of the Fauves suits his individual approach; and both Max Band, in his several atmospheric essays, and Henri Cheval, in a pearly scene of the Quai du Louvre." its wintrv trees denned with a parched brush, i show that French Impressionism has. enriched their experience submerging their identities. If there is nothing, in Hazlitt's phrase, that we remember as a new truth gained to the mind," we should do well to reflect that second oniv importance to stylistic in- novations is the need to exploit them to the full: and as an exhibi tion of old truths in fresh guises I warmly commend this display. Sculpture and painting, said Landor, are moments of life," and to arrest that fleeting moment is the peculiar difficulty of the sculptor ot movement, it in her bronze figures of the ballet Dora Gordine fails to convey the sense of the momentariness of their poses that; I think, is because only a sur-real device can convey any notion of luuvcinciiL.

anu ner realistic treatment evidently i more suited to figures in repose. Several of her sensitively modelled heads are, indeed, quite lovely, and trie Helen shows that even in this troubled age a sculptor can still invest her work with a classical serenity. Elsewhere at the Leicester Gal- leries are recent satirical drawings by William Roberts, whose picture of marionettes is significant. For thirty years and more the artist has been presenting his parade of sly. metallic puppets, ana it they seemed a little daunting in far off "rebel days one can only be entertained by them now, and enjoy the in-1 genious and witty uses to which thev are put.

Space forbids any more than a mention of the imaginative the A5nr Uo 7 ZL J.r "cicauu ivjason 111 tne lunner room. Soloist formance, to the delight of an audi ence which seemed lo be drawn mainly trom the adjacent academies. uui yvigmore nail IS Still a Dome Ot variety, and by Friday it was housing musiL-ians nf annther tun "5 musiuans or anottier sort. Joan and Valerie Trimble, in wine -dark velvet academic in it rKnnnM j-vnlsiitf! 11 ana witn an audience much less The Growth of EngEsh Society B. Lipson The story of the enterprise of the English people in the field of industry ana trade from early times to the present.

2i. mi. The Golden Land A Background to South Africa JOLIAN MOCKPORD A vivid account of the scenery, the vast game reserves, and of life in the towns and native territories, photographs. is.U. nit.

Adam Charles Black mrm baliu Collactor'i Oohnl Limited fine editions of modarn baoki, bound in lull lnathor, blocked In told, numbered copies, mkny of chem mutof replied, they ire produced in co-opermtion with leedini publtthers (Pricee from 126.) There ii a wide lelection' dooju wai aw on view on stand la (Gallery), "Sunday Timei Book Exhibition, Qroevenor House, Park Lane, W.I. October Slat November I4ch. Among our titles are F. E. Hallidey, Shakaipeara and Crltica" (DudorcrVlj, 2S0 copiai.

100 autographed for members only. (BfocJk Morocco. 374.) Oacar Wilde. EM Prolondis," hrac complete and accurate version. Preface by Vyvyan Holland.

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poil.) Triel saBscriptien for 3 nautili 2.12.6 (inc. pcitj Please write for prospectus and catalogue of aveiiaoie dues eo editions de luxe, ltd. 24, Museum Scroec, London. C.I. Tel.

MUSEUM 491-2 AN IMPORTANT BOOK RHEUM AT ISM its Caasas, Preveetiea ot Treatment ay Clemoil JtfftTU. M.A. The second edition of this neipfnl book nev ml .11 -n kmkulW. nnhl from the previous work of whicb the MeJUmi Tuna wrote I No auzTerea; akould t3 to peruse this readable end inatroctiva book." Prlra liBDGAH BACKUS, LEICESTER i CROOKES HALIBUT Oil quaU 3 tmaU sisa Iff PHILLIPS' TOOTHPASTE WTTH of bauty many of not MM far VBlr, praducad by tlx Book I -JIU-J. j.1 1 HOW ARE TOn FEELING THESE BATS Do you realise the relationship between vitality and vitamins? Too littio of one means too lit tie of the other, STRONGER I The vitamin content of Crookes Halibut OH capsuUt has now been increased, although the price remains unchanged.

Capsule, Alas, Poor take Prompt spite of veined marble and an eiarjuraic iresco symoousing musical inspiration in the half-dome over the platform, Wigmore Hall's interior is soberly functional, like the inside of a piano. This seems the place for being earnest about music, for concentrating on its technique and ignoring its untidy human content. Night after night, in occasional lunch-hours-and on Sundays, the professionals, home and foreign, go mere to give their London recitals. Variety Bandhox. 10.0.

News; 10.15. Twi is'" Hour: 10.es, Hymns: 11.0. Light Musk-orchestral Ji-J' Records. 11.56-pianos THiRfr5l4.6 203.5 1 Musk Haydn and Schubert: 7.20, Cardinal Man-licbe ninB. 8-20.

Fedora Opera bv Giordano bscuits i Lv--'--'" On a rack in the hallway stacks of entirely human tenderness. For a i firfora Ac 2 Tal- is leaflets somehow contrive lo keep one "me. even the marble seemed to have Fedora "Act iojb. Short Storv: 11.10-pace ahead of this endless stream of blood in its veins. talent, tentative and established, lo J' 'S sad that so much of 4, mc-iVisM Service oi Rtrr, herald the Famous Hungarian, the artistry which comes to Wigmore brance: 5.04.0, For uw Children; Distinguished Greek, and the world-' Hall should pass unnoticed.

A soloist Service of Remembrance (B.B.C Telefilm) relief from i cannot nope to snow mucn prom. The object is plainly to get a London hearing, and these nightly performances in that backwater behind Oxford-street can scarcely be said always to reach that pitch of audi- oiiity. yril Dunn Theatre News Philip Barry's The Pliiiadelphia Slorv. 1 presented by Henry Shcrck and Gilbert Miller, opens a preliminary tour at Brighton, on November 14. with a casi 1 I.

i u. -i raaiuoin ISODCTl Beatty, and Hugh Sinclair, The Seagull will move to the St. James's on November 16. To-monwi: Royal Command Vanety Performance (Coliseum) TuesJaV: Kasseiri. by H.

de Hnel and R. L. iviegroz (New Weslnesttay: What Next; revue (Unity). Friday: Salome, by Richard Strauss Garden). (Covent tne richness in the Brahms variations on Haydn and poured out all the pomp available in two Robert Irwin sang his-way easily through the Schumann Dichter- cycle, with a DleasinSE and I can be counted on when touring notable who feels entitled to warn us that this will be his Only London Appearance.

In such a rout of soloists there must be some who need a setting rather more baroque, but for Maurice Wilk, the American violinist who was there on Tuesday, the Wigmore is a spiritual home. His earnestness is patent, his playing militant. Before his attack Handel seemed to move with unaccustomed briskness down Lamb's Conduit-street, and even Brahms was made lo shake off some awillt iuciiy commonly allowed to htm. But the Htndemith sonata for violin alone is music in which no hint of nonsense may be imagined and it M'r' wL HrU i.1 "Kuaj Mr Willc himself understands. He gave it a vigorous and exciting per- ANSWERS TO TABLE TALK QUIZ I.

H. H. Asquilh and Neville Chamberlain 2. Rufus Isaacs. First Marquess of Reading: 3.

Lord Cushendun 4, Herbert Paul Clara Bint 6, Edgar Wallace. Milk of Magnesia' is ready to band in the Medicine Cabinet. This quick acting antacid is especially comforting should you ever eat or drink unwisely, smoke too much or sit up too late. Being also a most effective laxative, Milk of Magnesia' wfll relieve the system leaving you feeling clear-beaded and bo much fitter. Milk of Magnesia' xaao.

tbujxs suaxst Issued by the Cake and BicuU War 1 tm? Altiarwe to remind you that biscuits cnnnol br btntsn Lu wfr.ct r'teg Juod a-SBge I 3t- fttOTtCT TEETH FKOM MOUTH ACIDITY.