say, a half super-natural, legendary person should show to us a face, not made before the looking glass by some leading player,—there too we have many quarrels,—but moulded by some distinguished artist?' How well Dulac has done his share of the work we can judge by two of his beautiful masks in this exhibition, and it is to be hoped that since Michio Itow, the leading actor in the original cast is now in the United States, a performance of the play itself may be made possible. Dulac's costumes will then be seen, and it will clearly be realized how swiftly, both in his work for the theater and in the exquisite paintings, Dulac is arriving at one of his artistic goals,—"a satisfactory synthesis for the communication of Emotion through Character." Another aim seems to be, to prove his capacity to excel in many media, and he has already done various things so successfully and poetically, that if he were to return to his native city, the judges of the famous Languedoc Floral Games, which take place in Toulouse each Spring and in which only poets contend, would surely award the sprig of golden amaranth to Edmund Dulac.
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