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By FAITH SERVICE
than the Parisian. He is too serious for Paris, too slow in his movements, too inscrutable in his .smile and his eyes which are sad. Paris speaks occasionally in his smile, his smile which is humorous, even light. More, he has that subtle, inscrutable charm of older civilizations than ours, older legends, older mythologies. He has that instinctive wisdom which has come from beauty touched with decadence. He has that atmospheric richness born of the Old World, specifically of old Spain.
There is an inescapable atmosphere . . . the bravado of toreadors waving a bunting of scarlet . . . murmurings and secrecies under lichened cathedral walls . . . the old cathedral Ibanez has written of . . . shy donas draped in mantillas of black lace caught at the breast with a crimson, scattering rose . . . courtyards where vivid hibiscus flowers come to a flagrant maturity only to die away, and green and orange lizards sun under fountains {Continued on page 77)
De Cordoba is a good deal more the Spaniard than the Parisian. He is too serious for Paris, too slow in his movements, too inscrutable in his smile and his eyes, which are sad. There is an inescapable atmosphere of the bravado of toreadors. Right, a scene from “The New Moon” with Miss Talmadge and Don Pedro
0 C. Smith Gardner, N. Y.
!too. In the shadow of ipera House, where his
1 lullabies were arias from ; and Marguerite or overfrom Tristan and Isolde. 2, too, his small desire to
operatic star grew and apace with his great 'g love of music. “Con-uusic now,” he added, ;ical music, it is, I might 'ly passion.”
\ Cordoba looks his lage. Probably a great 'more the Spaniard
wenty-one )
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