Foundation. They prohibit the accumulation of its income, which is to be "currently applied" to the purposes of the Foundation; thus preventing an undue accumulation of the Fund. The amend ments also provide that the names of trustees chosen by the original members named in the bill shall be submitted to the President, the Chief Justice of the Supreme Court, the President of the Senate, the Speaker of the House of Representatives, and the Presidents of Harvard, Yale, Columbia, Johns Hopkins, and the University of Chicago, and that such names must secure a majority vote of these gentlemen. Provision is also made for the distribution of any property held by the Foundation at the expiration of fifty years, in case the trustees think it advisable to make such distribution; and at the end of one hundred years Congress shall have power to compel the distribution of any of its principal. Power is also granted to Congress to impose at any time such limitations upon the objects of the corporation as it may deem the public interest demands, and all property in any form received by the Foundation shall be subject to the terms prescribed by Congress in the bill and its amendments, or that may be hereafter imposed by Act of Congress. It is believed that these amendments will prevent any use of the great fund in the hands of the trustees which may be inimical to the public good, or any future trustees from placing the great fund at the service of any special interest.

THE DEUTSCHES HAUS

AT COLUMBIA

Mr. Edward D. Adams, President of the Germanistic Society of America, whose benefactions have already been noted in these columns, has now added to them the gift of thirty thousand dollars to Columbia University for the particular purpose of purchasing and equipping a Deutsches Haus. This should be a distinct aid in the laudable efforts on the part of Columbia University and Harvard University to promote cordial relations between Germany and the United States. The "Haus" is to contain an academic bureau of information, to be under the direction of Professor Rudolf Tombo, Jr., now absent in Germany on sabbatical leave,

which will work in co-operation with a similar one in the University of Berlin, conducted by Professor Paszkowski. At these bureaus students may obtain all possible information regarding various educational institutions in Germany and the United States. In addition to the academic bureau of information, the American "Haus" is to contain a Germanic Institute, equipped for the study of German history and civilization under the direction of a competent scholar, with whom will be associated the Kaiser Wilhelm Professor of each year. The building is also to contain a private apartment for that professor during his term of service. The "Deutsches Haus" will be an important link in clinching the GermanAmerican connection as above outlined. The "Haus" is to be located near the University, and is expected to be ready for occupancy before the opening of the next academic year. It will do much to cement friendly German-American feeling in general, and in particular to emphasize the value of the Kaiser Wilhelm Professorship.

GERMAN-AMERICAN PROFESSORIAL INTERCHANGES

The gift of a hundred thousand dollars from an anonymous donor is also announced, making

it possible for the Columbia trustees to place the Roosevelt Exchange Professorship in the University of Berlin upon a more satisfactory basis, and also to consider the extension of the system of exchange professorships to other German universities. The gift calls renewed attention to the professorial exchange comprised under the present Kaiser Wilhelm and Roosevelt Professorships. They are the result of a long-standing purpose, made effective by the active support of the German Emperor over five years ago. The Emperor said to Mr. Tower, the American Ambassador, that, for the peace of the world and the advance of civilization, there should now be added to the diplomatic and commercial intercourse of the nations their more disinterested and altruistic intercourse through the intermediation of their educators, and that, above all nations, Germany and the United States should introduce this method of bringing the leaders of the

world's culture together. The purpose was carried out through the intermediation of two American universities, Harvard and Columbia, in the prosecution of two independent but not conflicting plans. The Harvard-Berlin professorial exchange follows the plan of the late Dr. Althoff, Ministerial Director in the Prussian Ministry of Education. His advances were accepted by President Eliot, and in the autumn of 1905 Harvard sent out Professor Peabody to lecture at the University of Berlin. The Harvard system comprises an exchange of educators between "the Harvard corps of professors and such educators as the Prussian Ministry of Education may propose. It is an interchange of professors who speak in their own languages on their own special subjects. On the other hand, the Columbia plan the outcome of a project formulated for more than twenty years-involves the appointment of men who speak in the language of the students on some topic connected with the history and institutions of their native land. The plan provides for the establishment of a professorship of German History and Institutions at Columbia, to be called the Kaiser Wilhelm Professorship, and for the establishment of a professorship of American History and Institutions in the University of Berlin, to be called the Roosevelt Professorship. Upon nomination by the Prussian Ministry of Education the Columbia trustees annually appoint the incumbent of the Kaiser Wilhelm Professorship, and from nominations by those trustees the Prussian Ministry of Education annually selects the incumbent of the Roosevelt Professorship. The latter is required to do his work at the University of Berlin for the winter semester, but may be sent by the Prussian Ministry to any other university for the summer semester; similarly, the Kaiser Wilhelm Professor is at Columbia only for the first half-year; during the second he may lecture at other institutions. In making a selection neither the Columbia trustees nor the Prussian Ministry are confined to the corps of professors in any university; indeed, a man may be selected without regard to any university connection at all. This plan was first laid before the Emperor and Dr. Althoff in August, 1905. Both heartily

approved it and, through their support and a munificent endowment by Mr. James Speyer, the plan became effective in 1906. The Kaiser Wilhelm Professors at Columbia so far have been Professors Schumacher, of Bonn; Leonhard, of Breslau; Penck, of Berlin; Rünge, of Göttingen; and Daenell, of Kiel. The Roosevelt Professors at Berlin have been Professors Burgess, of Columbia; President Hadley, of Yale; Professor Adler, of Columbia; President Wheeler, of the University of California; and Professor Smith, of the University of Virginia. Thus two admirable educational interchanges have now several years of impressive history behind them.

THE PADLOCK BILL

Last week the "Padlock Bill" passed the Spanish Cortes, or Parliament, by a large majority. The measure has become known as the "Padlock Bill" because it locks up Spain against the establishment of new religious "congregations" during the next two years. While this is taken by Papal extremists as an affront (persisting as they do in regarding the Vatican as a sovereignty and not as a church), more liberal-minded Catholics take another view. They admit that some such law is really necessary if, in its desire to revise the Concordat of 1851, the Spanish Government is to have an opportunity of negotiating with the Vatican on honorable terms. The Concordat, or agreement between the Spanish Government and the Vatican, declares that the Roman Catholic faith is the religion of Spain, provides for its support, protects episcopal rights and the already established religious orders. But it does not require the Government to allow monastic orders to be extended without limit. They have recently been alarmingly extended. The closure of monasteries and convents in Portugal a few weeks ago has resulted in the settlement in Spain of all the Portuguese monks and nuns-a striking addition to the already great increase in the numbers who have settled in Spain since the loss of the Spanish colonies, and more particularly since the expulsion of certain orders from France. While the power of the Spanish priest and the Spanish bishop is still legitimately a vital force, that of

the average monk and nun in Spain has become so discredited as to cause much popular aversion towards the religious orders, even among otherwise fervent Roman Catholics. Hence, to preserve and consolidate the Government's authority, it was long since recognized as desirable to limit the formation of more monastic and conventual establishments in the Peninsula. The policy of the present Radical Premier, therefore, logically follows the modifications attempted by his Liberal predecessor. Canalejas has now succeeded where Sagasta failed. The "Padlock Bill" will be, we trust, only the first link in a chain to bind the Vatican from obstructing popular progress. To be in line with present-day progress in Spain there should be a new Concordat which, while duly recognizing the Roman Catholic religion as the religion of the State, shall contain provisions limiting the Church's property holdings, prohibiting minors from entering monastic houses, throwing those houses open to legal inspection, and, above all, subjecting Church teachers to State inspection. If these moderate reforms are resisted by the Vatican, it is not improbable that they will be followed by an entire separation between Church and State in spite of the Vatican. But the impetus of the success already achieved by the Government should, we think, do something towards promoting at least a temporary agreement between Spain and the Vatican.

Such a revo

revolution in a patty-pan.' lution has happened in Monaco. It was fortunately bloodless; the population is so small that a sanguinary revolution might have obliterated all the male citizens. Monaco is the smallest sovereign State in the world. There is a still smaller State in Italy, but it is under the control of the King. Monaco, on the other hand, is entirely independent. Its population consists of fifteen hundred people, of whom six hundred and fifty are voters. Prince Albert last year accorded to his subjects the right to elect a Municipal Council. This only whetted their appetite for freedom.

Monaco is the greatest gambling-place in the world. There are sometimes fifteen thousand foreigners in the place, gayly or in somber mood leaving behind them the toll exacted of them at the gamingtables of the Casino. The citizens of Monaco have felt that the millions of francs which go into the coffers of the Casino, in which the ruling Prince is a partner, should be expended with some reference to the interests of the citizens. They therefore sent a deputation to call on the Prince, who was in Paris, and present the popular demands. The Prince was otherwise engaged, as visiting princes often are in Paris. Not having the memory of any French revolution in his mind, he kept the deputation waiting a week, and then sent them word that he would be glad to meet them in Brussels. This contumacious treatment was a lighted match which ignited the accumulation of inflammable material in Monaco. Meetings were promptly held, denunciatory speeches were made, and matters went so far that the courtesies of the post-office were disregarded and the Prince was summoned home by telegraph. The Prince thereupon sent his son, the hereditary Prince Louis, to arrange matters. On arriving in Monaco this gentleman was received in dead silence by a crowd at the station. One lady who gave the usual welcome," Vive le Prince Louis!" was answered by a shout of “Taisez-vous !” The Prince, who is said to be well-mannered and well-meaning, went to his palace through silent streets, and was there notified by the Municipal Council that he would have forty-eight hours in which to make up his mind, and that if he could not make it up in that time in accordance with the desires of the people, no one could tell what would happen. Under the circumstances the Prince thought it wiser to make up his mind and to notify his father of his conclusion; and in a few hours the absolute monarchy of Monaco was changed into a constitutional monarchy, under a Constitution which is being drawn up by a commission of French public lawyers. The first Parliament will number eighteen members. The only large thing about Monaco is its relatively enormous income, which, under the new Constitution, will be handled, not by the

Prince, but by the State, with the cheerful allowance of eight hundred thousand dollars a year to the Prince, who is said to have in addition a very large private fortune. This latest opéra bouffe appears to have been kept in the comic key to the very end.

THE FIRST PRODUCTION OF "KONIGSKINDER"

On Wednesday night, December 28, a new opera by a distinguished foreign composer received in the Metropolitan Opera-House, New York, its first public hearing on any stage. Only once before has a similar operatic event occurred, and that also was in the present season. In the first instance the most celebrated of modern Italian composers, Puccini, translated the melodrama of our West into the musical idiom of Italy. The second opera, Engelbert Humperdinck's "Children of the King," tells a simple legendary story in the musical language of the country that has given the majority of the masters of music to the world. In his first opera, “Hänsel und Gretel," Humperdinck converted a fairy story known to every German child into one of the most delightful and successful of modern operas. This time he has taken a typically German fairy story for his theme, but the characters are not children, and the symbolism, while simple, is deeply significant-the story of a people who clamor for a king yet deny him because he does not come to them wearing a king's garments, of the royalty of soul that the world cannot recognize when unaccompanied by pomp and gold. symbolism, while it may touch the note of the universal in a story, does not hold an audience unless the drama or music drama has a real and moving quality. quality the story and music of "The King's Children unquestionably possess "Königskinder" as a play, with incidental music by Humperdinck, was produced a number of years ago in Germany, and also in New York in German at the Irving Place Theater in April, 1898, with Agnes Sorma. It was given here in English by Martin Harvey in November, 1902. One of the king's children is a prince who wanders disguised in search of adventure; the other, a poor goose-girl, beautiful and innocent and

But

This

royal of soul. The king's son chances upon her tending her geese and wins her love, although she does not know that he is a prince, or, indeed, what a prince may be. She is held in enchantment by a wicked witch so that she cannot follow her lover; but the village fiddler, who has the poet's divination, frees her from the spell. The king has died while the prince is wandering abroad, and the people seek a king. The witch prophesies that whoever shall first enter the city gate at twelve on a certain day shall be their ruler. The prince returns without his robes and crown, and the people jeer at him, refusing to recognize him. He is employed as a swineherd, and only the fiddler and the broom-maker's little daughter perceive the truth. When the gates are thrown open as the hour strikes, no gorgeous figure stands there, but the poor goose-girl, followed by her geese and wearing her royal lover's crown. The people turn upon them and drive them from the gates, and the broom-maker's little daughter is left alone bitterly weeping. The last act shows the minstrel, maimed and banished for his allegiance, living in the hut of the witch, who has been put to death for her false prophecy. The snow is falling. The minstrel opens the window and feeds crumbs to the little snowbirds. The children come and beg him to return and play for them, and to search for the lost king's children. After he has been led away by them, the prince and the goosegirl return, footsore and starving. The prince buys a loaf of bread with his golden crown, but it is the witch's poison bread, and, having eaten it, they die. The fiddler and the children return too late. The farewell sung over them, at the conclusion, by the fiddler and the chorus, predominantly of children's voices, is one of the most exquisite and tender effects ever presented in opera. It is such appreciations and divinations that reveal the best phase of the Teutonic spirit in art.

themes of interest to the student of composition, the elaborate commentator, and the listener of categorical tastes. But for the average music lover it is enough that the course of the music beautifully characterizes the story and the emotions involved. There is a frequent use of folk themes, either real or simulated. The music written for the children has this character, and at times that of the goose-girl and the fiddler. As there are no striking departures in harmonic invention, there is no great originality in the matter of themes. Several of them, indeed, have a familiar ring. Yet the work, when all is told, is unique, an exquisite and typically German creation. Of the conducting by Herz only praise can be written. Mr. Jadlowker's manipulation of the rôle of the Prince could hardly rank as an interpretation. It was reasonably satisfactory, however, and creditably sung. Miss Farrar's goose-girl was lovely to the eye, and for the most part to the ear. While one could not lavish upon it the superlatives called forth by the occasional inspired operatic performance, it was sympathetically conceived in the spirit of the story and only at times departed into the realm of the theatric-as in the dance, which was more suggestive of a modified Salome than a goose-girl. Mr. Reiss also, in the small part of the broom-maker, presented another of his incomparable portraits and sketches that should be a lesson to all who essay character parts in opera. Mme. Homer successfully concealed her beauty behind the wicked features of the witch, and brought her fine art to assist in the creation of the effect of the whole. Both the young girl who took the part of the child in the last act and the real child who impersonated the broom-maker's little daughter were delightful, and the picture of the grave, gray-haired, spectacled composer before the curtain hand in hand with the small child to whom he gave a winter sunshine smile and dignified clasp of congratulation was one pleasant to remember.

American audiences, this novel orchestra is of Russian origin. Its appearance on the stage is of itself unusual. The players of the ordinary orchestra are distributed over a considerable area, and have at their sides or in front of them or in their hands

a wide variety of instruments. Not so with the Imperial Russian Court Balalaika Orchestra. The players sit in a compact semicircle. They remind one of nothing familiar so much as of a college banjo, mandolin, and guitar club. Every player but two holds in his hands an instrument which somewhat resembles the banjo, the guitar, and the mandolin, yet is quite distinct from each. The two exceptions sit alongside of an instrument that looks like a small grand piano with the cover off; and they sit in such a position as to be able to pluck the strings with the right hand while fingering a few black-and-white keys with the left. These keys are placed at right angles to that end of the instrument which would be occupied by the keyboard if the instrument were a piano. Another peculiarity at once noticed is that practically all the guitar-like or mandolinlike instruments-that is, all the instruments but the two last mentioned-have a three-cornered body, with the neck attached at one angle. A few, however, of the smaller instruments are apparently circular. They all evidently are of the same family; but they vary in size from that of a mandolin to that of a small-sized double-bass. The leader of this orchestra, Mr. Andreef, takes his place on the stand and raises his baton. At the first downward beat there is another surprise. It is the sound. What does it resemble ? If the reader can imagine a full-string orchestra, violins, violas, 'cellos, and basses, all playing pizzicato, with the delicacy and refinement of tone of the Boston Symphony Orchestra, but with the sonority of a college banjo club, he may get an idea of the sound of this Balalaika orchestra. Sonority, however, is not used here to suggest, necessarily, loudness. One of the astonishing effects produced by this band of musicians is that of volume and warmth of tone combined with extreme softness. The two piano-like instruments, which are plucked somewhat after the fashion of a harp, often supply the effect of a sostenuto (sustained tone) when the