Epigraphy; and XXXV, Indo-Germanic Philology.)

In Greece, excavations have been carried on at many places, chiefly by the Greeks.

Athens. At Athens it was found that the ancient level of the Ceramicus lay considerably below the modern level, and that several important tombs, such as that of Dexileus, were much higher than the ancient street. Near the "Theseum" a beautiful torso of Apollo, which may have been the work of Euphranor, was excavated. The work of restoring the Propylæa progresses slowly. Discoveries of considerable importance were made on some of the western islands of Greece.

Corfu. Our knowledge of archaic Greek sculpture has been greatly increased by the discovery at Corfu of an archaic temple with the sculptures of the west pediment practically complete. They represent a kneeling Gorgon clinging to the leg of the horse Pegasus, while Perseus approaches. On either side of this group is a colossal lion; in one corner, Zeus fighting a giant; in the other, a woman seated before an altar-like building. The temple was perhaps dedicated to Apollo.

Cephalonia.-On Cephalonia, considerable remains have been found, dating from about 3,000 to 1,000 B. C.; and at Leucas Dörpfeld has brought to light abundant evidence of Achaean civilization.

Mount Lycaeus.-On Mount Lycaeus, in the Peloponnesus, the ancient hippodrome, stadium, a building for entertaining strangers and another unidentified building with an Ionic portico, were excavated by Greek archaeologists.

Olympia. At Olympia, the finding of a Protocorinthian potsherd beneath the temple of Hera has proved that the building cannot be older than the eighth century B. C.

Sparta.-The British School at Athens has completed its excavations at Sparta. There was a large Mycenaean town located on the hill where the shrine of the hero Menelaus was discovered. This was destroyed by fire and the historical Sparta founded in the plain by the Eurotas in the early Iron Age.

Tiryns. In the palace at Tiryns remains of important frescoes have been uncovered. They fall into two groups, an older group in which are two female figures, a charioteer and a man driving a herd of cattle; and a later group, representing hunting scenes, etc., dating from the third Mycenaean period.

Crete.-In Crete important discov eries have been made by J. Hatzidakis at Tylisus, six miles west of Candia and Cnossus. A palace similar to those already uncovered at Cnossus and at Phaestus has been partially excavated. It had been destroyed by fire and the movable articles carried off. It was originally two or three stories high and belonged to the Late Minoan period (circa 1600-1300 B. C.); but traces of the Middle Minoan period (circa 2200 to 1600 B. C.) were found in a lower stratum. Two tablets in the Cretan script, fragments of wall paintings, a beautiful bronze statuette, 12 inches high, a steatite vase, and several bronze vessels, were among the objects discovered. Near the river Gazes, north of the town, a cemetery of the Middle Minoan period was discovered and will be excavated.

Asia Minor.-In Asia Minor, the important sanctuary of Men Askaenos at Pisidian Antioch has been found on the top of a mountain, 5,000 feet high, four miles southeast of the ancient town. There was no temple, but an enclosure with a great altar and a stadium or small theater near by. A considerable number of Greek inscriptions, dating chiefly from the third century A. D., were copied from the precinct wall of the sanctuary.

Pompeii.—In Italy the most important discoveries were made at Pompeii, where a house of more than twenty rooms has been excavated near the Porta Ercolese. The walls were decorated with beautiful frescoes representing Bacchantes in light drapery, Bacchus and Silenus, flagellation scenes, a dancer with castanets, etc.

Rome. In Rome many minor discoveries have been made, the most important being a fine portrait statue of Augustus.

University, Wilson in the sixth article of his series added twenty-nine sepulchral inscriptions to those previously published. (American Journal of Philology, XXXII, p. 166187.)

AMERICAN ARCHEOLOGY

search. Its results are primarily of anthropological and ethnological sig nificance, and have little of the artistic interest associated with classical archæology. No attempt has been made, therefore, to review American archæology individually; the year's progress is recorded in Dr. George Grant MacCurdy's article "Anthro

A bird's-eye retrospect of the year 1911 impresses one with the fact that its musical significance has been considerable in almost all fields save that of music proper. This paradox explains itself readily to one who makes due note of the general status of the creative output and then contrasts the result with the number and character of activities to be observed in other departments of the tone world. In the paucity of newly produced compositions of genuinely enduring qualities the period under consideration seems not very far behind its predecessor. However, if creative labors have evolved little of momentous consequence much has been consummated along other lines of musical endeavor. And in such matters America has run Europe a fairly close race, vying strongly with it in details of interest.

Grand Opera.-It may be recalled that the predominant event in the world of American music during the year 1910 was the complete revolutionizing of the operatic situation through the withdrawal of Oscar Hammerstein. One of its most farreaching results was the formation of an opera company having its headquarters in Chicago, under the management of Andreas Dippel. There had been some misgiving when the plan was first broached as to whether or not that city would find the support of an opera company an easy matter. The very first season, however, amply vindicated Chicago's right to such an organization. The city responded with an alacrity that

quite upset the calculations of even the most sanguine, and the outcome was a financial profit-something almost unprecedented in the operatic annals of America. Ministration to the musical wants of Philadelphia was another of the duties that devolved upon the company, but in this instance the monetary outcome was less gratifying. The Philadelphia engagement in February and March resulted in a good-sized deficit, which Philadelphians were confronted with the alternative of removing or else foregoing further operatic pleasures from the same source. The embarrassing question was solved by the eminent financier, E. T. Stotesbury, who in March offered to disburse $45,000 as Philadelphia's share of the losses and also guaranteed to pay any deficit of the following season up to the amount of $100,000.

In addition to its work in Chicago, Philadelphia and some of the smaller cities the organization made a series of "guest appearances" to use a Germanism-at the Metropolitan Opera House in New York. The fact is worthy of record mainly for the reason that at this time the Chicago company gave its first American hearing to Wolf-Ferrari's charming opera-buffa "The Secret of Suzanne" (March 14), Jean Nouguès's musically attenuated "Quo Vadis?" (in Philadelphia, March 24 and New York a few days later), and Victor Herbert's newly completed American opera "Natoma," which will be considered in more detail presently_(Philadelphia, Feb. 26, New York, Feb. 28).

Shortly after being debarred from producing opera in America for a period of ten years Oscar Hammerstein concluded to transfer the seat of his activities and try his fortunes as a purveyor of opera in London. Undismayed by the competition of the venerable Covent Garden institution, reports of British scepticism toward projects of the kind and the rapid decline of Thomas Beecham's meteoric prestige, he set to work, erected an establishment which he called the "London Opera House," and opened it with a performance of "William Tell" on Nov. 13, barely a year after ground had been broken for the new building. Complete success rewarded his energy up to the close of the year at least, and the most emphatic approval was bestowed on his productions as well as the work of several but little-known American singers in his company.

The most enduringly successful of the novelties brought forward by the Metropolitan Opera Company in New York during the year was Humperdinck's "Königskinder," which, though given its first hearing on any stage there a few days before Jan. 1, may yet logically be regarded as a distinctive feature of 1911. With the exquisitely poetic and emotional drama of "Ernst Rosmer" (Elsa Bernstein) as libretto, Humperdinck's score proved a masterpiece of melodic, harmonic and instrumental appeal, even though cut faithfully on the Wagnerian bias and consequently not a product of compelling originality. Its success was sensational not only during the first season but also during the succeeding one. On March 29 was brought out for the first time in America Paul Dukas's four-year-old "Ariane et Barbe-bleue," a setting of Maeterlinck's symbolic drama. Dukas's music, though strongly tinged

Early in February announcement was made at the Metropolitan that preparations were under way for the production of a one-act opera, "Twilight," by the American, Arthur Nevin, whose fated "Poia" had been so roughly handled in Berlin a year before. But though scheduled for early in March the opera was steadily deferred until it was finally stated that, owing to the emendations necessitated by the orchestral score, a postponement until the fol lowing November was imperative. Up to the close of the year the work had not materialized.

Five days after the inception of the Metropolitan season on Nov. 13 was introduced into America the fairytale opera "Lobetanz," by the late Munich composer Ludwig Thuille. Though it had enjoyed a German career of some 15 years, and though it caused some of its producers to entertain visions of a second "Königskinder," it was found to be of mediocre quality, despite the somewhat redeeming feature of a strikingly individual and fantastic third act.

"Mona." It is in connection with the Metropolitan that must be mentioned the most absorbing event in American composition during the year. The prize contest of $10,000 instituted two years earlier by Director Gatti-Casazza had come to a close in Sept., 1910. For the next eight months nothing definite was learned of the outcome. On May 2 it was made known that the jury, consisting of Alfred Hertz, George W. Chadwick, Walter Damrosch and Charles Martin Loeffler had concluded to award the decision to "Mona," a three-act tragic opera by Horatio Parker, with libretto by the American writer, Brian Hooker. The date of production was ultimately fixed for the first or second month of the following year. Those privileged to examine the full partitur of the work were emphatic in their commendations and assurance that the music marked