In the revised version of _Marionettes_ the character drawing is more skilful, and we incidentally notice the illuminating and characteristic English used in the works of MacDowell's mature period instead of the conventional Italian musical terms. The little comedy-drama is opened by a _Prologue_, in which jovial, wistful and sardonic motives variously indicate the types of characters in the play, and is rounded off by an _Epilogue_, which is one of the most beautiful of MacDowell's smaller pieces, being full of tender feeling, and indicating unmistakably the deeper and human significance of the composer's Marionette studies. The whole album comprises one of MacDowell's most interesting portrayals of everyday human nature, standing quite alone in its droll half-amusing, half-pathetic mode of expression. It is something quite apart from the more specialised romantic and heroic figures of the three symphonic poems, _Hamlet and Ophelia, Op. 22_, _Lancelot and Elaine, Op. 25_, and _Lamia, Op. 29_; the three last pianoforte sonatas, _Eroica, Op. 50_, _Norse, Op. 57_, and _Keltic, Op. 59_; or of the noble _"Indian" Suite, Op. 48_. OPUS 39. TWELVE ETUDES FOR THE DEVELOPMENT OF TECHNIQUE AND STYLE, FOR PIANOFORTE. _Composed, about_ 1889-90. _First Published_, 1890 (Arthur P. Schmidt). BOOK I: 1. _Hunting Song_. 2. _Alla Tarantella_. 3. _Romance_. 4. _Arabeske_. 5. _In the Forest_. 6. _Dance of the Gnomes_. BOOK II: 1. _Idyl_. 2. _Shadow Dance_. 3. _Intermezzo_. 4. _Melody_. 5. _Scherzino_. 6. _Hungarian_. These pieces have as their chief object the development of pianoforte technique, but are quite interesting as poetical music. In his technical instruction, whether through musical examples or verbally, MacDowell inspired his subject with the idealism and vivid thought of the true poet. The poetry of these studies is not of the composer's finest inspiration, but it is of a quality sufficient to prevent their being viewed solely as technical exercises. Generally, they do not require advanced executive ability to play. _Hunting Song _(_Allegretto_) is a study for accent and grace, but not particularly interesting as music. _Alla Tarantella _(_Prestissimo_) is a fairly effective study for speed and lightness of touch. It is not very difficult to play, having convenient three-note phrases. _Romance_ (_Andantino_) is fairly tuneful, but not particularly interesting. It is a study for the development of the singing touch. _Arabeske_ (_Allegro scherzando_) is a sparkling wrist study. _In the Forest_ (_Allegretto con moto_) is suggestive enough, but not in MacDowell's finest style. It does not compare favourably with the forest pieces in his delightful _Woodland Sketches, Op. 51, or with the deeply inspired and mature _New England Idyls, Op. 62_. Its technical object is the development of delicate rhythmical playing.