In this respect they were not to be disappointed. Early in 1917 there came from his pen an orchestral work, which, through sheer interest and merit forced itself into the repertoires of all of our leading symphony organizations: _Through the Looking Glass_. The first performance in New York proved an event of signal interest in the news of the day and critics agreed that Taylor had fully lived up to the promise which his earlier efforts had offered. Within a few months orchestras in Paris and London had adopted the work, and thus he won his first recognition among the few American writers who have had performances abroad. The personal letters which Taylor received from several of the greatest contemporary musicians both here and abroad, on the strength of this music, may not be published; they show, however, that he was now accepted by them as one of them. His standing was secure. Interrupting the output of works in the larger forms the record shows numerous songs, many of which were taken up with avidity by our leading concert singers and which will be discussed later from a different angle. _The Portrait of a Lady_, a rhapsody for strings, wind and the piano, was the next of his more ambitious essays to win popular approval. IV As a practical man Taylor realized that if he were to continue his growth in serious music, he must find the means of livelihood in avenues which offered a more immediate return in the currency of the realm. He turned to the theatre and probably not without a feeling that here he would find also the fundamentals upon which he might some day build a work in the music drama form. It was an inviting undertaking, offering both income and working materials for future development. In 1922 he wrote the incidental music for Austin Strong’s pantomime _A Man About Town_, which graduated from the Comedy Club to the Ritz Theatre. He had “broken into” the theatrical game and now according to the custom of the Rialto, he was to be pursued instead of being himself the pursuer in the quest for commissions. _Liliom_ required music; Deems Taylor was the logical man to supply it. A score was needed for the farce-comedy, _Dulcy_; who better than Taylor could do it? In quick succession he added to the list incidental music for the Winthrop Ames production, _Will Shakespeare_, music for the Theatre Guild’s _The Adding Machine_, a musical setting for Alan Seager’s _I Have a Rendezvous with Death_, in George Tyler’s production of _Humoresque_; the incidental music for _Rita Coventry_; incidental music for Gilbert Miller’s production of _Cazanova_; incidental music for _Beggar on Horseback_, produced by Winthrop Ames in January, 1924, in which was introduced the pantomime _A Kiss in Xanadu_; and the score for the motion picture _Janice Meredith_.