will be made obligatory, and the previous defect, it is hoped, cured. The malady and the proposed remedy is thus described by the superintendent of schools: "In the mad race for the normal school our girls have ceased at the portals of the high school to be interested in stitches and gussets, in roasts and pastries, not from choice, but because the pathway of preferment has not lain through the fields of domestic science and art, but by way of the academic studies alone. This is all changed in the new courses of the manual training schools, and now advanced cookery, the work of the diet kitchen, millinery and dressmaking, become a part of the curriculum in the preparation for the normal school."

Congressional Legislation.-The celebration of the centennial of the establishment of the seat of government in the District of Columbia was held on Wednesday, December 12, 1900. The celebration was followed by a general popular demand that Congress should enact legislation for the improvement of the District. Congress responded to this demand, and in accordance with the recommendations of the District commissioners, made large appropriations for the year and authorized the advancing of money from the federal treasury to meet anticipated deficiency in the District revenues, so that no delay might be experienced in providing for the completion of a sewerage disposal system for Washington, the construction of a water-filtration plant, and the establishment of adequate water supply. Moreover, at the extraordinary session of the Senate held in March, a commission of eminent architects and landscape engineers was created to prepare a general plan for the improvement of the public park system of the District. (See article ARCHITECTURE.) This action was the result of efforts that had been made for several years by the commissioners and citizens of the District to have adopted a comprehensive scheme of park improvements. Another important act passed by Congress on March 3, 1901, established a code of laws for the District of Columbia, to take effect on January 1, 1901. This legislation was urged by the District bar in order to institute a systematic and authoritative arrangement of the laws and court procedure of the District. The new code, however, does not comprehend the mass of the laws relating to the administration of the government of the District, and the necessity of embracing these various municipal ordinances and regulations into a unified code is urged by the attorney for the District in his annual report. DOMINICA. See LEEWARD ISLANDS.

DOMINICAN REPUBLIC. See SANTO DOMINGO.

DONNELLY, IGNATIUS, American author and politician, died at Minneapolis, January 1, 1901. He was born at Philadelphia, November 3, 1831, and was admitted to the bar in that city in 1852. Four years later he removed to Minnesota, and became actively concerned with State and national politics, being lieutenantgovernor and governor, 1859-63, and member of Congress, 1863-69, as a Republican. After his return to private life he was editor of the Anti-Monopolist, a newspaper whose name explains its attitude toward combinations of capital and which advocated the policy of the "Greenbackers." He was repeatedly elected to the Minnesota Legislature, and was twice nominated for Vice-President of the United States, in 1896 by the People's Party and in 1900 by the "Middle-of-the-Road" Populists. While in Congress he was vigorous in the support of measures to create the National Bureau of Education and originated legislation providing for the planting of trees by the government. But it is in his writings that Mr. Donnelly's claim on remembrance lies. All of them display an eccentric ingenuity, but while attracting considerable attention have never been regarded seriously. His principal publication is The Great Cryptogram (1887), in which, by the application of Bacon's word-cipher to the First Folio of 1623, Mr. Donnelly attempts to prove the Baconian authorship of Shakespeare. Others are Atlantis (1882), an alleged proof that a large island of this name, well known to the ancients, once lay in the Atlantic in the same latitude as Gibraltar; Ragnarök (1883), an explanation of geological formations of the drift age by contact of comets with the earth; and The American People's Money (1895).

DRAMA. Of playwrights, the most conspicuous figure on the American stage in 1901 has been Mr. Clyde Fitch. During that year five original plays from his hand and one adaptation from the French have been acted for the first time-The Climbers, by Miss Bingham and her company; Captain Jinks, by Miss Barrymore and hers; Lovers' Lane, by a specially chosen cast; The Way of the World, by Miss de Wolfe and her company; The Girl and the Judge, by Miss Annie Russell and hers; and The Marriage Game, an adaptation of Angier's La Mariage d'Olympe, by Miss Martinot and hers. The Marriage Game, which vitiated Angier's veritistic comedy by the shifting of the scene to England and the anglicizing of personages and of a point of view essentially French, may be dismissed as journeyman's work that attracted little public notice. Captain Jinks, in its turn, was a very light, episodic, and somewhat fantastic comedietta, following with felicity and charm the

amatory adventures of an imaginary and youthful prima donna with the golden youth of New York in the "early seventies." It contained adroit reflections of the superficial life of that time, but in material and purpose it was largely fantastic. Lovers' Lane, while purporting to be a comedy of rural life in New England, revealed for the most part the conventional personages of American rural drama in the conventional, quasi-sentimental way.

In the three remaining plays Mr. Fitch has sought to deal truthfully, penetratingly, and more or less seriously with aspects of American life and with American personages as they exist to-day, especially in cities and large towns-a task that few American playwrights have set themselves and that none has achieved with such success. Mr. Fitch chose the personages of The Climbers from the newly rich and socially ambitious of New York to-day, and wove his play about the weakness of a well-intentioned man whom financial and social aspirations drive into various knaveries, and the contrasting strength of his wife and a friend who is half-a-lover. The merit of the play, though it does not lack constructive skill and emotional appeal, lay most in its keen, truthful, and felicitous picture of certain phases of contemporary life in New York. The Way of the World, a less serious and less dexterous play, was an attempt to mirror the manners of the socially elect in New York and the superficial aspects of a political campaign. The Girl and the Judge, as light a piece, draws its personages from the great American middle class, sets them in a Western town, and makes them revolve about the fortunes of a young girl with a dipsomaniac father and a kleptomaniac mother, and of the judge who is concerned in the divorce sought by the one and in the thefts of the other. Here, again, there is significant and felicitous, but less closely observed, characterization. It were easy to indicate Mr. Fitch's more obvious shortcomings-his unevenness of construction, his tendency to catch at the readiest theatrical expedient, his liking for stage effect that will a little startle his audience, the occasional dullness of his wit-but in a single year he has established his position as an American playwright who observes shrewdly and mirrors truthfully and significantly certain aspects and personages of our urban life. His work, moreover, has found much and continuing public favor.

Mr. Augustus Thomas, who in Arizona, Alabama, and other plays has proved himself as close an observer and as skilful a dramatist of the simpler, ruder, and out-of-door American life of our time in the Far West and in the South, fell away in Colorado, acted by a specially chosen cast, into conventional and indifferently made melodrama in which he sacrificed his wonted truth and humor of characterization to the making of stage "points" in crudely theatrical fashion. On the other hand, in On the Quiet, a farce acted by Mr. Collier, he produced an amusing piece of genuine American flavor, alike in personages and incidents, speech and humor, independent of both French and English models and deserving of the success it achieved. French farce indeed, that turns upon amatory embarrassments and marital infidelities, has for the time lost the favor of American audiences.

Several "rural dramas"-Eben Holden, drawn from the novel of that name and acted by Mr. Holland; Sky Farm, New England Folks, Under Southern Skieshave purported to deal with American life on farm or plantation. In the main, however, they have set the conventional personages of such pieces in the conventional frame, portraying the accepted incidents and coloring them with the accepted humors and emotions. In their minor personages there have been occasional instances of genuine characterization. One other attempt, beside Mr. Fitch's, to set our urban life on the stage-Mrs. Burton Harrison's The Unwelcome Mrs. Hatch, acted by Mrs. Fiske-was in large measure ineffective, partly through the 'prentice hand of the playwright, which shaped a thin plot inaptly and barely sketched her personages, and partly through a purely conventional treatment of the pursuit of her child by a divorced and distressed mother. Still another venture with a very different aspect of urban life-Mr. Klein's The Auctioneer-proved eminently successful. Its chief personage, a Jew of the East Side of New York, undergoes as a petty and tricky auctioneer, as a man of means living "uptown," and as a street peddler, all the vicissitudes of prosperity and adversity, in an appropriate environment of local scenes and personages. Much more than the playwright, Mr. Warfield, who plays the part, characterizes the Jew with persuasive insight, truth, comic and pathetic felicity, and the utmost fidelity of detail. Unfortunately, in the desire of playwright and manager to make Mr. Warfield a "star," the other East Side types, which promised much, were left only sketches. A single venture into American historical drama, Mr. Shippen's D'Arcy of the Guards, acted by Henry Miller, a pleasant comedy of the Revolution, passing in Philadelphia during the British occupation, deserved more vogue than it won.

On the whole the romantic drama, especially the romantic drama drawn from current and popular printed romances, found less favor in 1901 than in the previous year. Dramatizations of Miss Johnson's To Have and to Hold, acted by a special

cast; of Mr. Hewlett's The Forest Lovers, acted by Miss Galland; and of Miss Runkle's The Helmet of Navarre, acted by Mr. Dalton, all failed. The original romances have been widely enough read to quicken public curiosity to see their personages and incidents on the stage; but the transfer thither was clumsily done; the material bore ill the transfer; and the result was usually crude and disjointed melodrama with little real romantic flavor or atmosphere, and, in the case of The Forest Lovers, less poetic savor. On the other hand, "stage versions" of Mr. Major's When Knighthood Was in Flower, and of Ouida's Under Two Flags, which were no whit more deserving, enjoyed much popularity, due in large part to the established reputation of Miss Marlowe, who appeared in the one, and to the warm and robust acting of Miss Bates--one of the rare young American actresses with real passion in her who impersonated the heroine of the other. In similar fashion, the real romantic ardor and glamor of Mr. Bellew's acting, to say nothing of its technical felicity and symmetry, carried a yet more clumsy dramatization of Mr. Weyman's A Gentleman of France to favor. An adaptation, with material changes in character and incident, of Mr. Tarkington's Monsieur Beaucaire served a like purpose for Mr. Mansfield. The play itself, a prettily disguised melodrama in which porcelain puppets stepped down from the shelf and spoke their mincing speeches and had their little adventures in the dress and surroundings of the eighteenth century in England, was more delicate and deft than most of its kind. It afforded also an admirable vehicle for the art of Mr. Mansfield in its lighter aspects. Rarely, of late years, has he acted with such grace and glamor and pictorial effect, with such lightness and elegance of tancy, touch, and speech, with such charming and versatile artifice. Mr. Stoddard, the veteran, lent like personal distinction, though in the very different vein of harsh and poignant revelation of the deep and primitive emotions of a misunderstanding and long unrelenting Scotch father to a passable dramatization of Ian Maclaren's Bonnie Briar Bush. Finally, two new versions of the old romantic play of Don Cæsar de Bazan-one made by Gerald du Maurier, acted by Mr. Faversham, and called A Royal Rival; the other made by Victor Mapes, acted by Mr. Hackett, and called Don Cæsar's Return-proved but futile rattlings of dry bones, upon which neither revisers nor actors put real dramatic flesh and blood. The two original romantic plays of the year, Mr. Lawrence Irving's Lovelace and Mr. Huntley McCarthy's If I Were King, both acted by Mr. Sothern, excelled all the adaptations and stage versions of passing novels. Lovelace follows the fortunes, real and fancied, in love-making and in verse-making, on the field of battle and in destitute lodgings, of the poet and cavalier of the court of Charles I., culminating, after two acts of preparation, in a third of high, if sombre, imagination and moving climactic power. If I Were King likewise has a poet for its hero, François Villon, and the Paris of Louis XI., just emerging from the Middle Ages into the Renaissance for its picturesque environment. The playwright makes the poet for a week master of France, with his head as a price of the royal caprice, were it not that the noble lady for whose heart Villon has sued finds another and gentler penalty. The play was notably well made and interesting, abounding in the glamor, the warmth, brightness, and general picturesqueness of genuine romantic drama. The personages were of real flesh and blood, heated by becoming romantic ardor; their speech was felicitous, their actions adroitly contrived. The whole piece, in fine, had enough imagination, romantic, and, on occasion, poetic quality and atmosphere to give it, with its theatrical fitness for its purposes, distinction. To both the parts of Lovelace and Villon, Mr. Sothern brought the finer qualities of his maturing art-qualities that meet half way imaginative romantic drama.

On its pictorial side, in its distortion of historical and quasi-historical personages for theatrical ends and in the primitive frankness of its emotional content, Mr. Belasco's Du Barry may fall into the category of romantic drama. In fact, however, it is sui generis-big and inchoate yet teeming with detail, mechanical yet reflecting with imagination the superficial aspect of two epochs, crude in characterization and incident yet deftly contrived. Pictorially it shows vividly and with full command of every material theatrical resource the outward semblance of the Paris and the Versailles of Louis XV. and of the Terror. In this environment it follows the life of the famous mistress of that prince from the milliner's shop through the palace to the guillotine, now clinging close to ascertained fact, now clothing her with new and strange virtues. Moreover, the passions of this du Barry are precisely those that suit the primitive temperamental force of Mrs. Leslie Carter, who plays the part. Throughout pictorial subtleties jostle mere bigness, crudeness, and stage mechanics.

From European dramatists, and especially from English hands, our theatres in 1901 drew much fewer plays than usual. The London theatres, upon which our managers must depend, have been busy with revivals of Shakespeare, with poetic dramas, or with contemporary comedies of sentimental and sexual infelicities ill

suited, in the managerial view, to our stage. There have been many failures and revivals in London. Paris, with its pièces à thèse and mimic pictures of a life strange and incomprehensible to American audiences and its ludicrous farces, has also been unusually barren. None the less, Captain Marshall, one of the most promising of the younger English playwrights, provided Mr. Drew with an adroit, human, truthful, and charming sentimental comedy, with a sting of pathos underneath, of English military life on the eve of the Boer War, The Second in Command, and a part admirably suited to the actor's powers. Mr. Esmond likewise gave Miss Anglin and Mr. Richman an imaginative and graceful comedy, The Wilderness, charged in its final episode with deeper human feeling, in which he lets his fondness for sentiment run into frequent sentimentality. For Miss Adams, Mr. Barrie, the novelist, also contrived a pretty comedy of sentiment and fantasy, Quality Street. For two acts it reflects the life of the quietest and most respectable of spinster folks in a little English provincial town during the Napoleonic war, with the simplicity, insight, gentleness, humor, and dexterity of Miss Austen herself, and with skillful understanding of delicate stage effect. Then it runs away, with the amatory adventures of the heroine, into sheer, bubbling fantasy. Then it ends thinly_and feebly, but with room always for the play of Miss Adams' familiar traits. From England, too, came a dramatization of A. E. W. Mason's novel, Miranda of the Balcony a play of serious emotions and picturesque Spanish and African environment-in which Mrs. Fiske acted impressively.

Of revivals only two require note-the one of Sardou's Diplomacy, by the company of the Empire Theatre, New York, which lacked the polish of high comedy; the other of Uncle Tom's Cabin for the first time in a spectacular setting.

Of visiting players, Sir Henry Irving and Miss Terry have again made an American tour, reviving Mr. Willis' tragedy, Charles I., appearing in Sardou's Mme. Sans-Gêne for the first time on this side of the sea, and repeating more familiar plays and parts. Both have been well received, but both as unmistakably have passed their acting prime. From England also has come for the first time Mr. Hawtrey, a comedian of personal distinction, naturalistic method, quiet sense of humor, much polish and finesse, and adroit command of the more delicate resources of his art. A single fantastic play of contemporary London life, A Message from Mars, has sufficed him. Finally, on the last day but one of the year, Mrs. Patrick Campbell, the foremost of the younger and more serious-minded English actresses, made at Chicago her first appearance in America, acting the heroine in Sudermann's Magda. Other plays followed, so that she belongs properly to the record of 1902. During the early part of the year Mme. Sarah Bernhardt (q.v.) in company with the elder Coquelin (q.v.), made an extended tour of the United States, beginning and ending in New York. Mme. Bernhardt appeared in two of her old parts, Fédora and La Tosca, and in two new rôles, the Duke of Reichstadt, in Edmond Rostand's L'Aiglon, and in Hamlet. As the consumptive hero of Rostand's melodrama, Mme. Bernhardt made use of her long acquaintance with Camille. Her Hamlet as a tour de force was an excellent piece of work. M. Coquelin's Flambeau in L'Aiglon and First Gravedigger in Hamlet, were beautiful examples of character portrayal executed in the finest spirit of classic French art.

In London in 1901 Sir Henry Irving unsuccessfully revived Shakespeare's Corolianus; Mr. Forbes Robertson was not acting; Mr. Tree revived Shakespeare's Twelfth Night, with an opulent and illusive setting, and followed it with Mr. Fitch's pictorial play, with D'Orsay as its principal figure, The Last of the Dandies. Mr. Alexander and Mr. Wyndham busied themselves with comedies of contemporary life by Mr. Chambers and Mr. Isaac Henderson; a specially chosen cast acted Mr. Pinero's newest play, Iris, in which he reverts onc: more to distorted and unhappy sexual relations and to subtle anaylsis of a contradictory and perverted heroine; Mr. Esmond has had similarly acted yet another ultra-sentimental play; Mrs. Campbell has appeared in Björnson's moving Scandinavian drama of faith and miracle. Beyond Human Power, and Mr. Gillette, the American actor, has achieved much public favor as Sherlock Holmes. In Paris, the internal discipline of the Théatre Français has been changed for the first time since the Moscow decree of the first Napoleon, to the increase of the directors' and the lessening of the actors' control of the house and its plays; MM. Capus and Levédan have confirmed their positions as graceful, amusing, subtle, ironic, and adroit makers of plays of contemporary Parisian life of the aristocratic and boulevard sort; MM. du Curel, Brieux, Hermant, and other practitioners of the pièce à thèse have worked in their usual vein, and so boldly that the censorship suppressed the newest of M. Brieux's plays, and M. Hervieu has had acted at the Théâtre Français a sombre and powerful drama of marital infelicity, L'Enigme. In Germany the dramatists of established reputation have produced characteristic, but not especially noteworthy, pieces, while no new playwrights have risen to rival them. In Italy d'Annunzio has written and Duse has acted a tragedy that tells with overflowing poetic beauty and high and