The reviewer of the “Evening Standard” said: “... his suite is curiously uneven. In places it is heavy and long-winded; Lewis Carroll was neither.” The critic of the “Daily Express” was more complimentary, as was the “Daily Sketch,” but the writer for the “Morning Post” stated: “... his capacity for detail misleads him. Instead of creating a vision by a wave of his hand, he fills in his picture inch by inch, carefully balancing his outlines and masses, and filling the whole of his rectangle with subject matter. A good musician, no doubt, but far from catching the white rabbit.” With these adverse comments we cannot agree. The pages of the Suite are not smothered with detail, the episodes and pictures of the book are impressions clearly delineated, and painted with a sparkle and brilliance that prove irresistible and dazzling. The _Portrait of a Lady_ was composed shortly after the _Looking Glass_ Suite, and rewritten in 1924. Ernest Newman wrote of it in the “Post”: “... he stood up like a man to Schubert, Juon and Novak; and at the end of the concert only he and Schubert had survived.” Lawrence Gilman of the “Tribune” said: “Out of the empty, agitated air he conjured an image that had line and color and background, substance and character; something coherent, vivid, personal. And when he was through ... we found ourselves richer by an experience and a possession, and wondering, as we never fail to do, at the mysterious potency of the art of music.” The work was composed for strings, wood-wind and piano, and, according to the composer, follows no definite program, but was designed to be “somewhat analogous to what a painter would call an ideal head; an attempt to convey the impression of a human personality in terms of music.” According to the music this personality has two phases: one grave, meditative and tender, the other capricious and somewhat worldly. The music has warmth and depth, and as W. J. Henderson wrote in the “Sun,” “makes one wish to see the woman.” The incidental music to _Beggar on Horseback_ included the delightful pantomime _A Kiss in Xanadu_, to a scenario by Winthrop Ames. Taylor wrote this for two pianos, and we may well hope that he carries out his intention of scoring it for orchestra. The music radiates moonlight and romance, and its humor enhances the spirit of satire. The opening measures establish the atmosphere with a 5-4 theme: [Music] The Royal Bedchamber episode is ushered in with this vigorous motive: [Music] The Princess is introduced with a Valse: [Music] In the public park incident, a stirring little march: [Music] leads to a more coquettish mood: [Music] The third scene finishes as the pantomime began, with a colorful reminiscence of the opening themes. Taylor’s next important work is _Jurgen_, a symphonic work for full orchestra, based on Cabell’s famous novel. His own statement of his aims in regard to it are as follows: