It evidently means—this phrase—“that which is _accepted_ as new”.... There are signs of our dangerously settling down to flat brilliant backgrounds, spots of vivid color, and much _mention_ of “important as decoration”. It seems an unhealthy acquiescence.... “Is desire a thing of nothing, that a five-years’ quest can make a parody of it? Your whole life is not too long, and then only at the very end will some small atom of what you have desired come to you.”—Gordon Craig in his _Art of the Theatre_. It looks as if we are due for a period of the old, old, three-walled room with the new, new, “new” color.... I don’t believe we will find the future in Michael Carr’s butterfly proscenium and moving-picture screen shadows; but, surely, it is not _The Man Who Married a Dumb Wife_, or _Androcles and the Lion_, although Barker’s _Midsummer Night’s Dream_ costumes are the most far-reaching originalities yet seen. Nor will it be like _A Pair of Silk Stockings_, _The Sabine Women_, _Overtones_, _The Charity that Began at Home_, _The Taming of the Shrew_, nor Urban and his present enormous New York output of “designs” and “follies”. Our only light seems to come from Gordon Craig’s work in Florence. “In his work is the incalculable element; the element that comes of itself and cannot be coaxed into coming”. Or from Sam Hume’s enthusiasm over the “Dome”; Reinhardt, of course, has almost acquired his permanent “angle of repose”—the newness of the American stage being, in fact, the Reinhardt of yesterday. If I had my way, I’d destroy all books about the theatre excepting those of Gordon Craig, for inspiration, or those of Arthur Symons for appreciation.... Then, perhaps, we should begin to understand the Theatre. Bernhardt on Reinhardt