Chicago Tribune from Chicago, Illinois • 34

ACTORS OF IyEALTIL FOREIGN PLAY GOODS. ITS CROWNING- EVENT 1 i THESPIANS WHO ARE WELL OFF IN THIS WORLD'S GOODS. THE APOLLO CUM TO PRODUCE BACH'S PASSION MUSIC. left of the old'Iog cabin, with puncheon floor and clapboard roof, in which was born Gen. Logan.

"The spot brings back memories of very tally days," said Toni Logan to THE correspondent. "I can remember the night my father came home from the Black Hawk War. John and I lay asleep in a 'trundle bed, but were awakenett by the barkiwc dog, and we were soon scampering about the puncheon door wild "THE BROKEN SEAL" IS AN EXAMPLE OF IMPORTED DRAMA. AMFLE OF IMPORTED DILAMA. With a New Title by Mr.

Palmer and a Good Company to Present It the Flay Promises to Be a Treat for Chicago TheaterGoersMr. Coghlan as a Play WriterProhman flag a Prize in "The Lost Paradbien Davenport's News. aal rrinm-rn i 1 I I rel r213-1 1 El ILI 1,11. 4-4-1 Lai I 1--a I ii 1 I 0 ra El EMOF t. with the play through the productions of the cago theater-goers have become acq American actress, as well as those of tame.

Bernhardt. Miss Davenport will have the support of a quantity of brilliant scenery, Mr. uainted Meloouene McDowell. and a storm scene. Whatever may be thought of the prosaic melodrama which M.

Sardou designed to oupplant Shakspeare's tragedy, Miss Davenvort deserves credit for a handsome production, while her Amazonian Egypt is a vigorous impersonation. THEATRICAL BILLS OF THE WEEK. Something About the Attractions for Chiesgoans at the riay- Houses. The Grand will have another week of Sol Smith Russell in Peaceful Valley." The agreeable absence of farce comedy and mechanical melodrama at the principal theaters will be observed with pleasure. The attractions at the centrally located houses are all interesting and of good quality.

At Havlin's Ada Gray will play in 64 East Lynne," as she has done for lo I these many years. "Uncle Tom's Cabin has its waxings and-its wenings; but East Lynne is perennial and Ada Gray shares its longevity. This is the second dose of "East Lynne aft ministered to Chicago of late. Eva Mount-ford has been playing her version of the story at North and West Side theaters. Another familiar combination of actor and play is that found by Frank Mayo and Davy Crockett." This popular actor will be seen in his favorite part at the Windsor this week, the engagement beginning this afternoon.

rhe characterization of the backwoodsman given by Mr. Mayo has long occupied a place among the distinct and memora'ole creations by American actors. It interests theatergoers of all classes. Ftederick Bryton and Ralph Delmore begin an engagement at the Clark Street Theater this afternoon. They will play "Forgiven." an interesting drama by Clay Greene ith which Mr.

Bryton has been identified for a considerable time. Both Bryton and Delmore are clever actors. The latter is tate of those performers who have got into the "villain" habit. He has made a specialty of "villains for years and he plays them well, though there is nothing in his personality suggestive of the dress-coat Mephistopheles. Delmore' last appearance here was as chief villiian in The Exiles," in which play he gave an admirable performance.

There will be a few changes in the program offered by Beverly's Minstrels at the Casino this week. The personnel of Mr. Haverly's troupe is undergoing constant changes to its improvement, and the performance is one decidedly pleasing to those who are pattial to negro minstrelsy. Two performances are given every day, and the living chess figures play their games daily from 11 a. m.

to 1 p.rti Two performances of burlesque and specialty are given everyday at the Madison Street Opera House, and the theater is generally well filled. SLACK'S with deiight at the safe return of the parent whom ie had almost given up as having been made kvictim of the savages." There are many things here that freshen the visitor's memory of Black Jack. Among the people here nothing is required as a reminder of the deeds of the dead He lives always in the hearts of his people. But the train has arrived at Cairo and war landmarks are not lacking, as this point was considered an important post for either of the armies arrayed against each other in 1861-'64. Up at Mound City are the old ways on which were repaired Uncle Sam's gunboats.

Here, too, is a large brick building, now made use of in the manufacture of furniture, but. which in war days formed a hospital in which the Union sick were cared for. Belmont is almost in sight. A look at the old place suffices to bring back a flood of recollections of the rebellion's early battles. And so the traveler might be taken over the entire surrounding country, here and there organization will beam next Tuesday evening at the Auditorium.

The first evening will be devoted to Haydn' Creation" and Berlioz's Requiem." Parts I. and IL of the oratorio will be given, the solos being sung by Miss Cleinentine De Vere, Charles Knorr, and William Ludwigall artists favorably knowa to Chicago concert patrons. The selections frodi Berlioz's mighty mass will enlist the services of a chorus of 800 'voice and an orchestra of 125 players under Theodore Thomas' direction. Mt. Knorr will be the ednesday evening will atIord.onportunity to again hear Handel's Acis' and Galatea and Mendelssohn's Hymn of Praise "two works which the Apollo club has sung here, but not in recent seasons.

Handers dainty masque will give- additional attractiveness from the appearance of Edward Lloyd as Aeis, a part in which he has achieved pronounced success at the English festivals. Miss De Vere will sing Galatea and Gardner S. Lamsona newcomer herePolyphemus. Miss De Vero and Mr. Lloyd will be the soloists in the Mendelssohn work.

Slr. Tomlins will conduct Wednesday evening and Clarence Eddy will be the organist Thursday will be devoted to the Bach Passion Music." and will be notable not-only because of the work produced, but also because of the eminent solo talent engaged in its rendition. Mme. Amelia Jo. achini, a vocalist who for years has held high position among the oratorio singers of Germany, will make her first appearance in Chicago on this evasion.

Mr. Lloyd's first great success as a tenor was made in the music of the Evangelist in his work, and he probably stands today without a superior in the interpretation of the part. William Ludwig will sing the part of Jesus; Mrs. Oenevra Johnston Bishop will be the soprano soloist; and Messrs. Lamson and the bassos.

Mr. Thomas will conduct. To Repeat the Entertainment. The following letter and answer are self-explanatory: CHICAGO, May 6.Prof. William L.

Tomlins, Choral Director, World's Columbian Exposition Dear Sir: The undersigned recognize in their official no less than in their perstmai capacity the national character of the wholly unique work you are doing with the children's chorus, preparatory to the dedicatory exercises of the Fair, and realize it is something nobler awl more interesting than any merely material exhibit possible. We were deeply interested in the illustration given of the gratifying condition of the training, as shown at the concert recently given at the Auditorium. But it seems to us 'desirable to have yet another illustration of this work, both for tha mere pleasure such a concert gives and in order that a still larger proportion of the public may comprehend the nature and scope of the workwhieh is of such quality as to be justly a matter of civic pride. We beg to request), therefore, a repetition of the same in the Auditorium at the earliest time convenient, and add that as far as possible we will see that your own overtaxed powers will be relieved of the detail work incident to arranging for such a repetition. H.

B. Stone, W. R. Ketcham, H. N.

Higinbotharn. Lyman J. Gage. John J. P.

Odell. Charles H. Schwab. William T. Baker.

CnIcAoo, May 9.Messrs. H. N. Higinbotham, Lyman J. tiage, John J.

P. Odell. W. P. Ketcham, harles H.

Schwab, H. B. Stone, and William T. BakerGentlemen: Replying to your esteemed favor of May 6 I beg to state that it will afford me pleasure to arrange for a repetition perfdtmance of the children's song festival in the Auditorium Saturday evening, May 28. With sincere thanks for the expression of your interest.

WILLIAM L. A dramatic idea frequently goes through several processes before its American fruition is reached. So it has been with the central theme of "The Broken Seal" which will be given its first Chicago presentation by Mr. Palmer's company at Hooley's Theater tomorrow evening. The 'Broken Seal" is supposed to be a five-act drama by Mr.

Sydney Grundy. As a matter of fact, the piece is an adaptation of "Le Secret de la wat written by MM. Busnach and Cauvin and was originally produced at the Chateau d'Eau ThUttre, Paris, in the fall of 1839. Mr. Grundy jumped at the central idea with the alacrity always displayed by a British play-maker in the presence of a striking dramatic thought of Gallic origin.

He might have found the idea nearer home, if he had read a certain story by that queerly clever Englishwoman whom everybody reads and sneers at" Oujda." This novel of Ouida's has a thesis similar to that of the Busnach-Chauvin drama, the breaking of the seal of the confessional of the Roman Catholic Church. Mr. Grundy called his play "A Village Priest," but Mr. Palmer has given the piece a much better title. Grundy is an honest adapter.

In Mammon," in "Honor Bound," and other pieces that he has taken from the French he has not only done much original work, but has given due credit to the authors who have supplied him with material. This example is recommended to Mr. De Mille, Mr. Gillette, and other importers of foreign goods for the theatrical market. "The Broken Seal" has been presented in New York and in Philadelphia.

In the play a priest learns through the confessional of a murder for which an innocent man is convicted. A great problem is presented to him. Shall he speak, and be false to his sacerdotal trust? Or shall he see an innocent man die for the crime? It is one of the problem stories like The Lady or the Tiger?" and Mr. Richard Harding Davis' The Other Woman." But the French dramatist, and Mr. Grundy after them, solve the problem in the last act.

It would be unfair to tell the precise manner in which the riddle is unraveled. for many will go to Hooley's to see bow it all turns out." 1' 1 3 1 liiM 1 Ag 1 Sr 4 tr, I a v- izi tik- 1- 1 Nv 4.1 1 1 .:104,0, 1,. 1' 1 lsi 1 1,.. THE OLD STATE ROUSE AT VANDALIA being pointed out a something that takes the mind back to the great conflict. Or he may go out the wide avenue in Mound City to a spot kept green by a grateful government, where he will find the landmarks that bring tender memories, headstones that speak of a sacrifice, monuments that tell of the Nation's loss.

Swinburne's Tragedy, "The Sisters." The Sisters," Algernon Charles Swinburne's tragedy, was published Thursday. The scene is placed in Northumberland and there are six characters in the play, all rustics. There is much love-making and there are many pretty songs interspersed. Lord Tennyson having looked to New York for a production of his innocuous Foresters," Mr. Swinburne yearns to have The Sisters per formed in America.

MILLIONS OF ARID ACRES REDEEMED. To Produce a ()perm, At the Grand Opera-House a week from tonight the new comic opera, "The Isle of Champagne," will be given practically its first production. although it will be given several trial performances at Buffalo in the interim. The Thomas Q. Seabrooke opera company, which will appear, Comprises, besides Mr.

Seabrooke, a new prima donna named Landis, Alice Roamer, Elvis Crux, Eugene O'Rourke, Otis Harlan, Lee Harrison, and Walter Allen, and the premiere danseuse Clara Qua litz. A chorus ot seventy voices and an orchestra of thirty musicians are promised. The engagement is for seven weeks. It Needs a Rest Hellespont-- Kyrie Bellew has written a poetic drama entitled Hero and Leander." The piece was given its first presentation Manchester, last week. Three pretty sisters, Hetty, Kate, and Lena Dene appear as three virgins guarding the Temple of Aphrodite.

Mrs. James Brown Potter assumes the rCtle of Hero. Mr. Bellew plays Leander. The action of the piece is said to be too slow.

It naturally would be, as the story of Hero and Leander is not adapted to dramatic purposes. The only way to make Mr. Bellew's drama succeed is to turn it into a tank play and let Leander swim a Hellespont of real water. 1 will Be "John the Ross." The business relations hitherto existing between John L. Sullivan, the actor.

and Duncan B. Harrison, the earnest actor," have terminated. Mr. Sulliyan explains that hereafter be will be his own manager as well as the star of his company. As he puts it: I've been John the Mug long enough; now I'm going to be John the Boss." lesson was brought close to the hearts of the people arid interest was remleakened.

In the setting of the he also followed this plan. The biblical words he employed i for his text and by his great skill and genius accorded them a musical setting which for beauty, mobility, and truth had never been equaled before, and which has ever since stood alone as the grandest example of passion music. Five Passions are supposed to have been written by him, but only twothe St. John and St. Mattheware now in existenee, and of these the latter is incomparably the greater.

MUSIC Or SIXTY DAYS IN ITAL. An Interview with 'VerdiSome Original Letters of Columbus. VisicE, April 21.From Out Special respondentdI heard music in Milan. Grief for Faccio rests upon the portal of the Scala, where, since his death, it is possible to sustain only a very short opera season each year. In the decline of the most brilliant of all Italian opera-houses is there a lesson which my readers themselves may draw for, admitting that the loss of Faccio was a severe blow, the old time opera of Bellini, Donizetti, and the early Verdi was a tottering institution notwithstanding the brilliant endeavors of Italy's greatest conductor and some of his contemporaries to sustain it.

It is because there are not yet in Italy a sufficient number of Boitos and Mascagnis to reinhabit her opera-houses that the transition period of that country towards a better operatic state is so gradual. But all signs point to its being accomplished. Verdi's "Aida and Otello are to many the visible first steps. In the works for the musical stage by young Italian writers of today the German influence is felt more and more, while a no less sure though perhaps less perceptible factor in benefiting Italian musical taste is the instrumental music of Martucci and Sgambati. As my way to Rome lay through Genoa I made a halt there.

At present two names are talked about in Genoa more than others; they are Columbus and Verdi. Columbus I did not see, but Verdi was charming. The most famous Italian composer spends the winter season in Genoa, and in sublimer goes to his country place not far from that city. He lives a very quiet life, departing from this routine -but seldom. He did, however.

go to Milan last month on the occasion of the Rossini celebration, where his stay was a succession of fetes. After the King and Queen there is no one so loved in Italy as Verdi. At Genoa he lives in the Palace in the center of the city. I app--roached the place with hesitation, for I had been told that his manner was gruff, and even if I saw him the session would be disappointing. Nothing could be further from the truth.

Verdi's manner was perfection and he made my call most interesting. His appearance is that of a polished man of the world just entering upou old age. He walks erect, and if he talks with deliberation there is no hesitation in this speech, nor would one think to look at him that he was 81 years old. His head sits perfectly upon his rather slight form and his clear gray eyes are kindly. He was dressed in a sack suit of black cloth, his working garb, I fancy, for the room in which he received me adjoins his study.

He spoke of his opera of "Falstaff," but as I refraMed from "interviewing" him I did not learn when it wculd be completed, but I imagine it is nearly done. Verdi's interest in music in the United States is more than perfunctory, and he is very proud of the popularity of the "Requiem Mass," "Aida," and Otello," with us. Incidentally he said he should not visit the Vienna Exhibition. Columbus has been dead some years, but there are monuments, memorials, and relics of him in Genoa which it would cheer the heart of a Chicago Exposition Commissioner to gather up. Speaking of relies reminds me of personal experience in Genoa.

Of course I wanted to see Paganini's violin which is kept sacredly at the city hall. It seemed a very good fiddle. Once each year Sivori, a violinist of renown, plays upon it, but as I couldn't wait eleven months to hear even so important a ceremony I left Genoa without hearing its tone. What visitors in the Genoa city hall stare longest at are the photographs of three Columbus letters. I examined these and noted with pleasure that 500 years ago there lived a man whose handwriting was worse than mine.

After gazing reverently at the photographs I asked my guide what evidence there was that they were true copies. Pointing to a pedestal on which was a statue of C. he said that in a silver box underneath were the original letters also a parchment book once the property of the greatest American navigator. After assuring hint that I was satisfied-with his explanation I asked him to open the box. The look he gave me ought to have sent me from the room on my knees, but it didn't; I merely walked out.

Completing the circuit of the hall, where there are some splendid tapestries, I gave the fellow a pretty liberal fee; then I pointed to the room in which the Columbus letters were. I saw that my liras had taken effect. Sit here." he said, and we will see." I sat some time. Finally I was approached by an official, whom I lithe every reason to believe was the Mayor of the city, who, on learning that I was very desirous', of seeing the letters, told me to follow him. I did.

It takes three keys to open the gold door of the silver box in which the Columbus letters are, but the Mayor knew how. The letters are dated, two in 1504, one in 1506. The most important one is addressed to his bank in Spain, authorizing the payment of certain moneys in event of his not returning from his second voyage. On relating my experience at the city hall a Genoese friend was inclined to doubt my veracity, saying that it required a vote of four-fifths of the Common Council of Genoa ere such a privilege was granted! I heard a performance of "Mignon at Genoa at the Second heater. The orchestra was large and there was favor in plenty among the performers.

Most of the audience smoked and the people in the boxes talked incessantly. Northern Italy is mountainous. The ride from Genoa to Pisa is one of- the most interesting to a lover of mountain and sea, for the railroad skirts the Mediterranean. I wonder if others who visit this part of Italy for the first time come as I did, with the impression that the country is flat, that agriculture is a horizontal not a perpendicular proceeding? The contour of the country is rugged, and one rides hours among scenery that only Switzerland can surpass. In Rome I spent Easter morning at St.

Peter's. Easter is a great day at the Pope's citadel, and the spectacle I saw was very imposing. By arriving early. exercising some obstinacy, and paying my offertory into the hands of a verger I had a place within the rmg where sat about 100 cardinals, bishops, monsignors. priests, etc.

The space in front of the bronze St. Peterthe one wnose toe-has been worn off by kissinghad been set apart for the service which was conducted by one of the cardinals. The choir sat in an elevated perch on the left, adjacent to which an organ that Michael Angelo may have played on when not drawing plans had been placed. Judged by the choir, music at St. Peter's is not an object of much solicitude on the part of the Pope.

The voices are not agreeable and the singing is very ragged. An aged priest marked the time but this was not enough to bring about a satisfactory ensemble. But there was one voice. a soprano from the Sistine Chapel, which was very beautiful. The music at the Lateran Church where I neard afternoon service on Easter was far better than that at St.

Peter's. Although the quality of the voices is less pure and musical than that of the choir of St. Paul's. London, the Lateran choir is well drilled and sings with expression. There is a modern spirit here, also a modern organ.

The choir possesses fine solo voices, among them a bass and soprano are notable. Every Sunday at nightfall a choir of nuns sings at one of the smaller churches of Rome. I believe the choir has been celebrated, and for it Slendeissolui wrote. It were better now that the gentle women content themselves with memories of former greatness, particularly as tne source of their accompaniment is an organ whose antics are simply pitiable. At Bologna I met M.

Martucci, who is the director of the conservatory and of the orches- tra and is one of the leading pianists of Italy. I did not hear the orchestral concert, given under the auspices of the Richard Wagner Society of Bologna, which M. Martucti was to conduct the day following my departure, but I quote the program in full as showing the attitude of younger Italy toward the modern movement in music- It was: Prelude from an opera, by Norinberga; prelude to Tristan Siegfried's Death and Funeral March; prelude to Parcif al Waldweber Ride of the At Venice the music of the gondolas was the sweetest and most unique I heard. At the cal theater saw a ballet, the product of a native of the lilace. it was more impetuous 1 than artistic.

There is an extraordinary lack of horses in 'Venice, the latest census giving but four, and these are brass. Austria next. G. IL Winsos. Fitting Close of a Brilliant SeasonBistory and Development of This Peculiar Form of CompositionChanges Wrought by the World' Great ComposersMusic for Sixty DaysSingers Who Wilt Take Part in the Auditorium ConcertsChildren to Perform AgainMusical Notes.

The closing feature of a musical season the most important Chicago has known -will be the performance next Thursday evening of Bach's masterpiece, "The Passion Music According to the Gospel of Saint Matthew." In producing this work for the first time in the city the Apollo club is not only introducing to the local public a composition which for more than half a century has stood acknowledged by musicians and students as one of the grandest products of man's musical genius, but it is also rendering to musical art in Chicago a service of a significance and magnitude worthy to signalize the successful completion of the organization's twenty years of conscientions and lofty endeavor in the advancement of choral music. In the music centers of the Old World the le "Passion Music has come to occupy as distinct and favored a place in public estimation as has that immortal creation of oratorio's master, "The Messiah," and it is as regularly sung Good Friday as is Handel's joyous work at Christmastide. Certainly in no better way can the Apollo club's important anniversary festival be rendered memorable than by pro-clueing this great work, and thus beginning, it is sincerely hoped, a series of annual performances of it. To trace the history of passion music back to the earliest religious form or- service in which it had its origin would be to tell of how some gentle-voiced disciple gave to a band of faithful followers the first sad recital of the tragedy which closed the life of him whom they had known and worshiped. Such a recital in words, to which a personal grief lent inspiration, was doubtless the first of those oral.

accounts which later, when the awful event had been softened by tradition, took the form of representations of the Divine Death, and which became the mysteries, the miracles, and the passion-plays of the early and the middle ages. The representations were chiefly dramatic, music being in all probability merely an accessory, and in no wise inseparable from the action. The earliest of these plays now known is one ascribed to Saint Gregory Nazianzen (330-390), who was Bishop of Antioch, and who arranged the Passion in dramatic form, with spoken dialogue, chanted recitation, and choruses written in the style of those of the Greek tragedies. The ancient custom in the Roman Catholic Church of havmg the Passion recited during Holy Week is probably the original source of the passionsmusic. As early as the beginning of the thirteenth centuryand there are reasons for believing the custom obtained still earlier it was usual to have this recital of the Passion given by three priests.

the first of whom, a bass, chanted the words of Christ the second, a tenor, those of the Evangelist; andthe third, an alto, those of the Apostles and the people. For these chants three musical phrases were used, and each priest repeated his particular phrase over and over, changing only the cadence, in order to indicate which of his fellows was to take up the recital. Filen Adopted by Luther. Such was the plan adopted by Luther, and in his instructions for Holy Week service he directed that certain portions of the mass should be rendered, and that the Passion-narrative of our Lord taken in turns from the different Evangelists should be sung before the altar by the high officers of the church." Many inconveniences could but arise from such an arrangement. despite Luther's statement, "A paelor must be able to sing," only a few of them were able to do so, the majority of them bemg incapable of keeping to the key." The result of such a person chanting over 100 veesesas certain of the accounts containcan be imagined.

Aside from this, however, the extra portions of the service ordered for the days of Holy Week and the large number of communicants Prolonged the service for hours, and a change in the form of service was found to be imperative. Owing to veneration for Luther and his teachings these changes were but slowly and sparingly made. Included among them. however, was the reading instead of chanting of the Passion-narrative. But this plan soon revealed its impracticability ia the fact that only those near the altar were able to hear the voice of the priests who did the reading.

The Passion must need be sung, were the people to receive benefit from it. Such were the conditions at the beginning of the seventeenth century. Musical writers had begun, how ever, to evince a desire to improve the music used in connection with the services of Holy Week. The chanting by three priests was changed not only in form but in the number of singers employed. The first record of more than one person chanting nay one part in these musical passion plays is the mention by Fontenelle of a "Mystery of the Passion produced by a Bishop of Angers in the middle of the fifteenth century, in which directions are given that certain portions "should be pronounced very audibly and distinctly by three voices at once, treble, alto, and bass, all well in tune; and in this harmony the whole following scene should be sung.

The Reformation brought freedom from the restrictions of the traditional chants, and composers began setting the biblical texts to original music in the style of the plain song. One of the first of these was printed at Wittenberg in 1573, with music for the recitative, and with choruses in four-part harmony for the people. Fifteen years later Bartbolomaeus Gese produced a composition in which the expressions uttered by the priests, people or disciples were set in harmony or plain song, and sung by five voices. How The Words Were Sung. The words of our Lord, of Peter, Pilate, Judas, and the High Priest, which usually were written for solo voices are in Gese's work arranged as follows: Those of our Lord, for four voices; those of Peter and Pilate, for three; and those of the maid-servant, for two.

In this composition text from the Bible alone is used. The next century-Heinrich Schutz made a marked advance in the musical setting of the Passion, by the introduction of chorale-melodies in the form of choruses supposed to be sung by the "Chnstian community." The solo parts, especially that of the Evangelist, retained the old form. This advance was carried still farther by Johann Sebastiani, who in 1672 produced a Passion-setting in which the solo parts were also original, and in which orchestral accompaniment was employed for the first time in such music. Freed frcm the narrow confines of rigid church chants, and with instruments other than the organ avatlable for accompaniments, other changes and greater originality were now possible. Early in the eighteenth century in 1704Reinhard Keiser produced a work, "The Bleeding and Dying Jesus," the text of which was by Menantes, and which contained "solikiquia" or poetic phrases of a descriptive or reflective character.

A "Passion," which Keiser also wrote, has words by Brockes, who added to the Bible narrative solilooma or reflections for the Daughter of Sion and The Believing Tehmann, Matheson. and Handel set Brockes' poem to music, and there is good reason to believe that it served as a model for Bach. The introduction of the chorals to be sung by the congregation was Bath's idea. and it is only in his passion music that they are so used. When in 1723 Bach became the cantor' in the famed Thomas Church in Leipzig he found the music for the Holy Week service unattractise and uninteresting to the people.

Solomon Deyluag, the superintendent and pastor, was a man of progressive ideas, and he counseled with the great musician as to the best way of interesting the congregation in the services. Bach realized the truth of the statement made by Luther that the -best method of reaching the people was by having them sing, and sing music which they could understand and 'eel. The chorales, which Luther had arranged and which the people knew by heart, were tne material Bach determmed to utilize to revive interest in the church service. He selected the most popular of these, and at the vital moment in the narrative made pause and introduced these chorales to be sung, the melody bj the congrega- tion in unison and the bar ony by the 4 CliQi.t By this means the of scriptural rative 311 Rae pause anti mtroaueeu tnese enor- aies to be sung, the melody the congrega- tion in unison and the bar ony by the ChC111.0 BY thid meall8 the Po' of scriptural 311111011itirbS in Every 'Profession Save That Actor or Manazer Who Can Quite Crertop the Million Mark. that' sh hn, produce Who rghterordltulte o.reTseaure: er Jefferson and Murphy Are Supposed to Re the Richest lith7 Us today has it acting.

ure half a dozen millionaire doctors, without going away from Gotham to name them; there -Tmileireviegrnaya re profession Pir lawyers in plenty: theta kte are millionaire editors, strange as it may seem, wires are numerous if politics be a profession, the millionaires nee. But there is no, writer in the AWashington Star. There is no dollars as his own, says a caewonchtu000nurtgmhastrutting a ni nmipi all conscience. fretful hour who caa os ea 1r party manager, fixed or transitory. who can quite o'ertop the million mark.

In all the history of theatricals, here or in any other land. no millionaire player has ever appeared. The fact may or may not have significance. It is cer. tainly not capable of successful denial.

Yet there are plenty of rich men and women oa the stage, and this country contains all save a very few of them. A quarter of a century has produced the mgtority of these lucky ones. Thirty years aga, there were scarce half a dozen actors who could reckon their wealth at $100,000 or over. There are at the lowest calculation 100 actors and actresses who are worth more than that today. One of the very rich ones.

whose head has silvered as his purse grew golden, whose genial wit and gentle manners have nevee failed to charm his audiences and whose pri- Tate life has been singularly pure anti unob- trusive, was goo4 enough the other day to talk for a little while about the finances of acting, and more especially about the earnings of those who have been the most fortunate. He was in many instances speaking by the card, and in all cases his calculetions were based upon a long riersenal acquaintance and, accurate knowledge of those whom he referred to. "It will be as difficult to say, C3r cathedra," hAem ise America ads. 6 richest actor ie wealthiest man in the whole world. But this point I make, and it is worth considering Pterei.tw uouisidthebe very to tell who is the that all save one of our confessedly wealthy actors are men who make laughter for our audiences instead of tears.

The comic players are almost invariably our prosperous ones. At any rate, you will find among them all the financial sinews of our profession. I don't know whether Joseph Jefferson is richer than Joseph Murphy, but I do know that Murphy is worth $450,000 at the lowest calculation, and, if any actor in America can show a larger figure than that to his credit he will be the kingpin of our rich Thespians. "I doubt if Jefferson is quite so well fixed as Murphy. Not that he couldn't have been, by any means, but there is this vast difference between the pairthat Jefferson has been a prodigal spender after his fashion and a luxurious liver, while Murphy has been exceedingly economical all the fifty-three years of his life.

Jeffeeson has been something of a speculator; Murphy has never made a monetary hazard, and proeably never will make one. Jefferson has lived like a lord of the manor, With a Louisiana plantation and a New Jersey villa to eat up lots of his earnings year after year: Murphy hits roughed it in summer; trout fishing is his one delight in it does not cost much to kill trout in these days. So in warm weather this semi-millionaire comedian diseppears from the haunts of men actors and wears out his old clothes beating through thick woods with a guide for a chum and a blanket for his covering at night. He likes it and he surely is entitled to enjoy it as much as he desires. In winter time he travels comfortably but not luxuriously, and it is a famous fact among actors that Murphy's hotel expenses are paid from the sales of his song-beoks.

"Jefferson, I say, could have been the richer of tee pair if he had bent his mind toward the accumulation Of vast wealth, but he has never exhibited the slightest tendency in that direction. He has been liberat to his actors, paying generous wages always. and the salary drawn from him by the late Florence of $1,500 or more a week was the largest ever paid in America to auy supporting actor. Besides, Jefferson has been charitable in an unostentatious way, and he has reared a trio of sons who have been a credit to him. His money is partly invested in real estate, first mortgages, and government bends.

Murphy's eccentricity is manifested again in his investments. He believes only in government bonds and safe deposit vaults; real estate and mortgages have no charm for him. He does not loan money at interest. Bonds, and only bonds, attract him, and if he lives many years longer his coupons, his song books, and the yearly pretits from his tour will make him a millionaire, and the first American actor to hold that distinction. Jeffersoa'S wealth, I think, will accumulate far less rapidly.

but he will leave his three sons eneugh te keep them in profitable leisure all their lives. The American actor who has not grown rich in comedy is Edwin Booth. The tragedian's wealth is an unknown quantity. He luta probably never revealed the exact figuree to any living persom He never talks of money to his intimates. and I doubt if he could tell you on the instant just how much he is worth, anyhow.

But there are signs not easi4 misinterpreted which lead me to believe that he is not so rich as Murphy, and probably not worth more than, Jefferson. That is estimating Booth's fortune at about $300,000. Shrewd lawyers have helped him to increase his holdings by judicious investments in real-estate. He is an extensive dealer in first mortgages at 5 per cent and he is in several good-paying dividend stocks, thanks to the tips of a Wall-street intimate. But Booth cares little for riches, and so long as he continues in his present apathetic motgi his tortune wili increase comparatively sio-ely.

The bulk Of it will go to his married daughter, Mrs. Edwina Grossman of Boston. though, by the way, there are rumors that of late she and her moody father have 'had a se- rious falling out. The Players' club, founded soobmbe, Euiesnyts when crane Boot Neil lla by Booth at an expense of and the Actors' Fund Orphanage will undoubtedly receivte Stuart handsome away. passes rt itdssoen- gess, Billy Hoey, Charley Evans, Nat' Goodwin, Sol Smith Russell, Edward.

Harrigan, Den Thompson, Oliver 'Byron, James Wallack, and Richard Mansfield make up a rather diverse group of actors who are well fixed. All of them, unless it be Mansfield are worth or more. Burgess owns an $80,000 apartment house in this city, and he has other investments paying from 7 tole per cent. He is easily worth and he will double that amount if he lives a few years longer. Robson is good for $200,000 or thereabouts, but he is not a speculator, and so his pile will grow rather slowly.

He has not been a spender. thflugh, and he wilt surely leave a respectable fortune: His wife, lovely May Waldron, will get her just share of it. his fingers down and his daueliter, Mrs. Alecia Creliore of tom will not be forgotten, though she took her frisky st khBesides ya ti ha pis a'she pchaoarnstd: marriage ati ue money br a i quite bitterly su aoa heart, so said at the time. 46 Billy Crane is worth as much as if not there.

enchant for Wall street, and I hear he has more than Once scorched. so rapidly since "The Senator lost its first great and his frequent tests of new plays of late have been rather expensive. Crane lives inexpensively while on the road. but in summer he likes yachting, and yacbtmg costs There is only Mrs. Crane to speed this jolly comedian's money after he Le gone.

and Hoey have made in net profits somethmg like in seven yeare, and without using any play save the one they start- 4 ed with, Hoyt's farce, A Parlor which was evolved from a negro minstrel sketch. In all the records of American theatricals there is no case just like this wonderful one of the two variety comedians who have thus grown rich. They are married and thee' are not expensive in their homes or their habits, so they seem destined to become richer still, if their health favors them and the public stick to tb len. Both are real estate in- vestors to a moderate extent. "Roland Reed has made $150,000 in the last half-dozen years.

He isn't married; he believes in New York real estate, and be behaves himself. Therefere, hell be rich yet one of these days, for he is young and has that advantage over Crane, and Burgess. Sol Smith Russell is well to do just no cause laud is booming in the 11 est, and ''IL-11 i these days, for hE vcaaustiteazitule Sol smith linage The Tremendous Possibilities Which Lie in Irrigation. San Francisco Chronicle: Special Agent Hinton's report on irrigation throughout arid America will be published in a few days. It will contain a great deal of valuable.

and interesting information and one of its most in- teresting statements will be that by the time of the opening of the World's Fair the United States may anticipate the cultivaan by means of irrigation of at least 17,000,000 acres of land that within the last decade has been declared by learned authority wholly irreclaimable. A few figures of comparison will enable us to appreciate what the addition of 17,000,000 acres to the cultivable area of a country means. The following table, taken from Mulhall's of Statistics, gives the area of cultivated land, in millions of acres, in the principal countries of the world: United Kingdom 4S1Norway 3 France PO Denmark 7 65 Holland 5 at5 Belgium 5 Austria. 731Greece 2 Italy 27 Canada. 16 2,2 13 5 Argentina 7 12 United States 202 If.

then, we can add 17,000,000 acres to our cultivable domain we Shall increase our capacity for supporting a farn3ing population as much as though we had absorbed one-third of the cultivated land of the United Kingdom, or one-fifth that of France, or one-fourth that of Germany, or all the culti ated land of Sweden, Norway, and Greece put together. We can annex a Canada of our own without asking anybody's leave, and have a million acres to spare. We can have within our own borders as much cultivable land in addition to our present 205,000,000 acres as Australia and holland combined have under If we divide this new creation of food-producing land into 160-acre tracts and give one to each actual settler we can take care of 250 families, whieh ought to mean nearly or quite half a ruilhon people in the aggregate. Of course, with that area of land ready for cultivation it would be divided into tracts much smaller than 160 acres each, for in only four countries in the world is the average of acres per estate so great as 160. The average for the whole of Europe is only 48 acres.

The theme is limitless. It would require a series of volumes to enumerate the full signification of adding 17,000,000 acres to the cultivable area of a country, and this, it should be remembered, is only a fraction of the now arid public lands of the United States capable of reclamation by the proper use of water. Congress shoulki wake up to the tremendous possibilities which lie in irrigation, and instead of thinking about parceling out the lands among the States and lerritories should take, hold of the subject in earnest as a great national proposition and put tnese lands into a cultivable and salable condition at the pease of the whole people of the United States. E. J.

Healey Failed tel Appear. A Western author, Edwin Milton Roy le, invaded New York last week with a play entitled Friends." A black eye was given to the piece on its opening night by the failure of E. J. Henley to appear. had been engaged for the leading part, but at the eleventh hour the author was compelled to assume the character.

Such a contretemps would be enough to kill almost any play. yet verrlittle allowance was made for It by the New York critics. While not a brilliant success, "Priends" has many good qualities and eventually it may become popular. The two principal characters are a poet and a musician. The latter part is played by Lucius J.

Henderson. In the course of the piece Mr. Henderson introduced sevaral piano solos which were warmly applauded. Henderson is a Chicagoan who has played in the companies of Modjeska and Sialvini. P.

The cast of "The Broken Seal" will recall to many theater-goers the memorable performances of the old Union Square ebmpany. There are enough members of the old troupe in this cast to suggest that, while now Mr. Palmer has the best company in America, he once had one that was even better. Those' theatrical Noctes Am brosianze will never be forgotteu by the playeoers who saw Charles Thorne, J. H.

Stoddart, James O'Neill, W. J. Le Moyne, Sarah Jewett, Ida Vernon, Fanny Morant, Maud Harrison, Mrs. Phillips, and others their equals, all in the masterpieces of the French stage adapted with rare skill by A. R.

Cazauran. Several of these admirable artists are in the cast of The Broken Seal." and the suggestion of bygone glories is the more striking because the play is a return to the kind of drancas with which Mr. Palmer's company was identified in the days when its headquarters were at Union Square. The cast of this new play will be a strong one Frederic Robinson, who enacted the title part in "Jim the Penman," will play the Abbe who has to choose eetween humanity'and religious duty. J.

H. Stoddart will have a reile calculated to display his extraordinary skill as a character actor. Other parts will be played by Agnes Booth, Maud Harrison. Julia Arthur, Mrs. D.

P. Bowers, Mrs. E. J. Phillips, E.

M. Bell, and Reub Fax. While the production of a new drama by this admirable company must be reearded as the principal local theatrical event of the week, the offerings at the other playhouses are generally excellent and interesting. Another novelty will be the first' production here of Lady Barter." Mr. Charles Coghlan wrote the piece, and he and his talented sister, supported by their capable company, will present it at McVicker's tomorrow evening.

Rose Coghlan played in Lady Barter in New York with considerable success. In London Mrs. Langtry assayed the titular character and was supported by the author. In New York the leading male character was played by Mr. John T.

Sullivan, but here the part will be acted by Mr. Coghlan, while Mr. Sullivan will assume the juvenile role. People who see Lsdy Barter" tomorrow evening will very likely be reminded of Forget-Me-Not," The New Magdalen," La Belie Russe," As in a Lookingglass," and other plays in which an adventuress quasi-sympathetic, tries to marry the good young man and is hunted down by her past. Those who are familiar with the modern French drama will think of the younger Dumas' Demi-Monde," which has recently a London production under the name of The Fringe of The theme' of Lady Barter" 4 will be familiar to the majority of theater-goers, but it will be seen readily that Mr.

Coghlan has built a new house with old bricks. "Lady Barter is a remarkably clever piece of dramatic treatment, and Rose Coghlan has had few characters that have given her better opportunities than she finds in this play which was written expressly for her by her brother. Speaking of the Coghlans suggests that Charles Coghlan is one ot the few actors of the present day who have persevered in the writing of plays. Lady Barter is the third of his pieces to be presented here. Jocelyn," Lady Barter," and "The Check Book" have been written in succession for his sister Rose, and the last one is as superior to the second as the second was to the first.

This hints that Mr. Coghlan should devote his time to play-writing. Then, too, he has an Irish and French ancestry, and this stock has produced some great playwright. Now that there is to be an Independent Theater in which the literary men of the country are to regenerate the stage, it may not be malapropos to suggest that actors have written some pretty good plays at one time and another. There were Shakspeare and for instance.

It is not likely that Mr. Ccghlan could produce a "Macbeth" or a "Malade Imaginaire," or that, if he could, any manager would produce them; but he knows the stage and he writes well. "The Check Book intimates that he would do well to try his hand once more at a satirical comedy. "The Lost Paradise will be continued at the Celumbia Theater, making a third Chicago playhouse that will be devoted this week to the artistic presentation of modern drama of a high class. In this play Mr.

Ctiarles Frohman has a prize. No piece presented- in the last decade has greater commercial value: for the drama is peculiar in that it belongs to the genus of "society plays" and yet has a powerful for the gallery contingent. Mr. Frohm an must be credited with having brought together an excellent company and the cast of The Lost Paredise" is strong and well The success of the play, however is due to the inherent strength of the idea in the original German work and to the intelligent skill of Mr. De Mille as an adapter.

It is observed that the deadwalls still bear the legend, Lost Paradise by Henry C. De Mille." Only in the cause of ordinary honesty it is urged that "The Lost I'aradise" is not by Henry C. be Mille any more than "The Taming of the Shrew is by David Garrick or than The Rivals" is by Joseph Jefferson because those actors produced stage arrangements of the comedies. All that is virile and vigorous in "The Lost Paradise" came from the imagination of Ludwig Fulda. De Mille has done capable work of adaptation but in allowing himself to be advertised as the author he is a jackdaw strutting in borrowed plumes.

If he chooses to deceive himself he has a right to do so, but Mr. Frohmati ehould not permit him to wear a giant's robe in public. Sardou's spectacular melodrama, Cleopatra," will be presented by Fanny Davenport at the Chicago Opera-House this week. Miss Davenport's impersonation of the Parisian Egyptian has become famillara and po- rt at the Chicago Opera-lIouse this week. Miss Davenport's impersonation of the Paris- tan Egyptian has become fanailtara and Chi- Mueleal Notes.

Emil Liebling will play Weber Concertstueck at Detroit Saturday evening, May 21, with orchestra under the direction of Albert A. Stanley. Mr. and Mrs. Henchel will give a vocal recital and concert at the South Congregational Church.

Drexel boulevard and Fortieth street, Saturday evening. The concert by the Chicago Symphony club, which was announced for next Tuesday evening in Central. Music Hall, has been postponed till Wednesday, May J. Goodrich will give a recital illustrative of his system of Complete Musical Analysis in Chickering Hall next Saturday afternoon. Harrison M.

Wild aud Mrs. Murdrough will assist. The advanced pupils of Sig. Jannotta. assisted by Max Benchx, W.

C. E. Seeboeck, Fred Hess, end Miss Gertrude Grosscup, will give a concert in Central Alusic Hall Thursday, June 2. Mr. and Mrs.

George Henschel will give a song recital at the South Congregational Cburch, Drexel boulevard and Fortieth etree, Saturday evening. May 21, at 8 o'clock. for the benefit of the organ fund. Mr. and Mrs.

F. Wight Neumann sailed from New York from Europe last Thursday for a tour that will occupy four months. They expect to visit Germany. Austria, Spain, France, England, tind Switzerland. The American, Music Society announces that as a courtesy to the Apollo club" the nineteenth meeting of the society will be postponed from May 19 (the night of the "Passion-Music performance) till May 26.

Over 6,000 francs have already been raised in Paris for a monement to the late Henry Litollf. Among the musical names of subscribers are: Theodore Litolif, 1000 francs; Massenet, 100 francs; Verdi, 200 francs; Boito, 100 francs; Saint-Steens, 20 francs; Chabrier, 20 francs; Colonne, 20 francs; Dupres, 20 francs. A new opera by Mascagni is probable. Messrs. Targioni-Tozzerti and Menasci, the librettists of "Cavalleria," -and "Bautzen" have at the order of the Milan publisher Sonzogno pre- pared for Mascogni a libretto, haying for its subject the story of Vestilia" a drama by the Italian poet.

Rocco de Zerbi. St. John's Protestant Episcopal Church will give a concert Tuesday evening, in the hall of the Douglas club for the beuelit of the organ fund of the church. The list of persons announced to appear includes C. J.

Schubert. Prof. Carnes, J. Allen Preisch, W. K.

Ziegfeld, Mrs. M. B. Skinner. Mrs.

Carleton White Miss A. M. Goetz, and the St. John's and Weber Quartets. Anson S.

Temple, the manager of the coming summer-night concerts in the First Regiment Armory, Michigan avenue and Sixteenth street, announces that the first concert of the series will take place Monday evening, June 29. Max Bendix will be the musical director and will have under his leadership a body of players made up chiefly from members of the Chicago Orchestra. The programs will be devoted exclusively to music of the lighter and more popular grade. The armory will be decorated with. evergreens, palms.

end promenades will be laid out; and refreshments will be obtainable, same as they were at the Exposition concerts. Ship Ahoy," the merry nautical opera that created so favorable an impression on the occasion of ks first prodnction here last season, will be the attraction at the Haymarket for the week beginning tonight. The organization, presenting the work will be the Miller Opera company. The company is headed by Miss Louise Montague and contains among its fifty members James E. Sullivan, who appears as Col.

Mapleson Mulberry. Special scenery is promised and the setting of the last act, with its view of the nine vessels of the Wnite Squadron approaching r'ortress Monroe, is said to be exceptionally attractive. The performance will be under the direction of Fred Miller the composer of the music of the opera. Dr. Ilatislick recently gave this pen and ink sketch of Brahms and Joachim: "Both have now been active almost half a century in the interest of the ideal, true priests of the divine art.

I first made the acquaintance of these two genial Ringlinge," as Schumann called them. at Desseidort in 1855. at a music festival ender Hiller's direction. They reminded me of the handsome hunters in Wallenstehca when they went un the Ananasberg arm in arm to get a cup of coffee. Brahms, aged 22, was a delicate look-- ins youth with tine, rosy complexion and long, blonde hair; Joachim two years older.

more serious of mien, also beardless with dark complexion and hairhow they did enjoy springtime together I How their faces beamed with the enviable happiness of being famous in their youth! And today we see them again appearing hand in hand before the which greets them with cordial applause. Durmg the thirty-seven years which have elapsed since that musical festival at Brahms has had time to grow a venerable white beard and Joachim one that is at any rate sprinkled with gray: for the rest the two have remained unchanged. In honest musical work there dwells a preservative, rejuvenating force." I 1 I 1 I 1 I 1 I 1 I 1 11 Gossip and Notes. Georgia Cayvan. leading actress of the LYceum company.

is on her way to Japan. where she will spend her vacation. Henry Irving has entirely recovered the use of his voice and has resumed acting at the Lyceum. During his absence the role of Cardinal NN oisey was played by Arthur Sterling. The Common Council of Providence, has issued an order teat no posters of woilien in incomplete costumes will be allowed within the city-s limits.

There is an ordinance.of a similar character in Chicago. John Russell, manager of The City Directory," has given an epigrammatic description of a new school of acting. 'the greatest comedian now," says Mr. Russell. is the man who can fall the farthest without killing himself." Manager Jchn H.

Russell and Amelia Glover, the little fawn of The City are soon to be married. This happy event has been postponed a considerable time, as Mr. Russell's first wife was slow in obtaining the essential divorce. The influence of the English aristocracy Is manifesting itself in the English theater. Lady Violet Grey-111e recently produced a dramatic version of a novel by Henri Greville.

The piece is said to be too unsavory to be popular on the English stage." Mrs. Langtry seems to have won success as the central character in "The Fringe of Society," recently brougtt out in London. The play is a perversion of Alexanere Dumas' "Demi-Monde." While Mrs. Langtry's acting is praised, the one brilliant hit of the representation was made by jewelry. At the Actors' Fund Fair Charles Dickson, the conceited young comedian who plays in Incog," was voted to be the most popular actor in America." In like mentor Miss Georgia Cayvan, was decided to be the most popular actiess in America." Miss Cayvan and Mr.

Dickson should star in "Romeo and Juliet." Sir William -Young, son of the late Sir Charles Young, has inherited a portion of his father's ability as a playwright. ling first drama. An American was produced in London last week and it is said to contain some well-invented scenes, although the piece requires vigorous cutting. Sir Charles Young is remembered as tue author of Jim the Penman" ana other plays. Comedian W.

11. Crane has purchased a yacht for $21.500.60. The 60 cents was for postage on the letters negotiating the sale. The bappy comedian's first act was the changing of the yacht's name from Melissa" to The Senator." Mr. Crane's vacation will be enjoyed at Cohasset.

He will act only two or three seasons more and will then retire, as he has an ample fortuqp and no children to enjoy it after him. "Hearts," the prize one-act play, was a de. cided failure and there is now another unpleas- ant result of the recent contest started by a New York newspaper. Over WO plays were offered. and two theatrical speculators hit upon the plan of prodeeing three at a et ime through a series of matinees.

Several matinees were given. but the plays failed. ano now it appears that the actors who participated cannot get their salaries. The Organist." a one-act play by Henry Arthur Jones, has been successfully produced in New York at the Lyceum. Mr.

Jonee always writes with a motive and a moral. In Tile Organist be preaches a temperance lecture but, does it, tersely and picturesquely. W. .1. be wMttooynioespelsauysistphoesiptelor3t ootrfingantoolbdisbliioniaddnoesresatrt amber thuds.

The means adopted for bringing about his reformation make up the play. THE OUTLAW DROPPED HIS GUN. A Hustler St-ho Was Very Brave 'Until They Got the Drop On Him. Julian Ralph in Harper's Weekly: "Was ever in a fuss?" said the veteran cowboy. ,64 Well, little ones, once in a while.

When a man raises a gun on me I'm going to do whatever he wants just as quick as I can. I've heard men in towns say they wasn't afraid of a gun, Well, I am and so would they be if they had ridden from Texas to Montana as often as I have, 'But there was a time lately when a man pulled a gun on me, and I didn't like to do what he wanted. You see, I don't drink liquor, and I'd refuse $500 sooner than corral a spoonful of it. I was in a barroom and a man came in and asked me to drink. He was a stranger, or he'd 'a' known better than to ask me, and he was steaming drunk, too.

I thanked him, and told him I didift cars to drink. I was unarmed, but he was and he whips out his guna 43 caliber sixshooterand he says: 'Pour out a glass of rum and chuck it in yourself, or make windows in your Ile had me, and I want to tell you a man doesn't feel first-rate looking along a gun barrel when he knows the weapoe's coeked and the man is drunk, and has only got to uress hard enough to move two ounces when the thingli go off. A man doesn't get absent-minded under the circumstances: he 'tends to whatever business is asked of him. I replied that certainly I would drink, and that I didn't know he was so pressing. I grabbed the bottle poured out the poison and was just raising the glass, with a 'Here's lo king at you, when a friend of mine came in the door.

He saw the lay of the land and he walked up and stuffed the muzzle of his six-shooter right in the drunken znan's ear, and he says. 'Drop Up to that time it had been a tableau and not a word spokea, but when my friend said, 'Drop it the feller let his gun fall as you would have done with a mouthful of scalding coffee." On Fifth Avenue. t. Li LI 1.0...,..12,.--,11-:.::77.':," IA wa 1 fr )1, mut Abbott's Witt tied. MUNN EAPOLISt May will of the late Emma Abbott-Wetherell was Ned in 'the Probate as well as the will xf herliusband.

Eugene J. Wetherell. The betilion is signed by V. T. Dunning, one of the executors.

lite value of the property in Hennepin 'ounty is The heirs of the estate are Ziettz Abbott of Minneapoli. Altnana M. Abbott. her mother, residing at lllicago; Frederick Abbott. ttrother Lizzie A.

Clark, sister. of Chicago; Leon bbott, brother, of Waukesha, Martha VethorelL Marion L. Wetherell, Fannie Venter.11. of l'iloucester, Mass. Vas Houghton, Brooklyn, N.

and Alice Cailerty of Jersey City. Ask your grocer for Health food Wheatena. A very nutritious, easily digested lyn, N. and Alice Catferty of Jersey City. Ask your crocer for Health food NVbeateua.

A very nutritious, easily digested I WILL BE NOTABLE IN MANY WAYS. A Case. Doctor, I Lave serious fears of my friend Jones. He seems to be losing his mind." Indeed! What are the symptoms?" One day last week I lent him my best silk umbrella And he forgot to return it? I But his mania is curable." You don't understand, doctor. He returned it the next day." Poor fellow! His case is without parallel and completely l'ree hces.

You don besrs. tanDde, it His, ease is without parallel and fdelairo.w" und comp etely hopele Works That Will Be Produced at the Au. ditorium This IS eek. The festival in commemoration of the twentieth anniversary of the Apollo club's ditocium This IS eeh. -The festival in commemoration of the twentieth anniversary of the Apollo club's I say, driver, I really believe there is somebody in tho stage playing on castanets." Catternets Them ain't no casternets ther horbes ribs a rattlinVLife, really neueve were is somecout in tho stage playing on castanets." Them ainl no easternets them's ther horses' ribs a rattlite.

Life, 1 I.