third-rate artist simply because he came from a foreign country having traditions of culture. He insisted on the American composer being treated on absolutely equal terms with the foreigner and according to his merits.

THE MACDOWELL COLONY

This account of that remarkable haven for creative artists known as the "MacDowell Colony," situated at Peterboro', New Hampshire, U.S.A., about three hours from Boston, is a reprint of the prospectus of the "Edward MacDowell Association." The Colony owes a great debt to the untiring enthusiasm and energy of Mrs. MacDowell, who also finds time to give frequent recitals in various American cities of her late husband's music. In the opinion of many who know of her work, she is only comparable to Madame Schumann, in her practical devotion to her great husband's music and to the realisation of his ideals.

A DREAM COME TRUE

Speaking of nationalism in music—and the remark holds true of nationalism in all the arts—Edward MacDowell once said: "Before a people can find a musical writer to echo its genius, it must first possess men who truly represent the people, that is to say, men who, being part of the people, love the country for itself, and put into their music what the nation has put into its life."

When MacDowell defined the essentials of a characteristic national culture, he did not know that his name would one day be associated with an enterprise ideally fitted to supply these essentials. MacDowell had a dream which he hoped might be converted into reality. This dream was shaped by influences from two different sources—an abandoned farm in New Hampshire and the American Academy at Rome.

He was one of the trustees of the American Academy at Rome. In this capacity he met intimately a remarkable group of men—John W. Alexander, Augustus St. Gaudens, Richard Watson Gilder, Charles McKim, and Frank D. Millet. Contact with these men proved an inspiration to MacDowell and convinced him that there was nothing more broadening to the worker in one art than affiliation with workers in the other arts.

In 1895 MacDowell purchased an old farm in Peterborough. In the deep woods, about ten minutes from the little farmhouse he built a log cabin:

  "A house of dreams untold
  It looks out over the whispering tree-tops
  And faces the setting sun."

There he did much of his best work and there he liked to dream of a day when other artists could work in just such beautiful and peaceful surroundings. This is the dream that has come true.

Until MacDowell went to Peterborough he had worked under the usual difficult conditions. During the winter he lived in the city amidst noisy surroundings; in the summer he went the rounds of country hotels and boarding-houses. Even the comparative independence of his own house never gave him the quiet and isolation that he craved at times, for there is no household whose wheels can be instantly adjusted to the needs of one member. For years MacDowell tried one makeshift after another until at last in the Log Cabin he found exactly what he needed.

During the last year of MacDowell's life a society was incorporated under the name of the Edward MacDowell Memorial Association. The purpose of the society was to establish in America a fitting memorial to the work and life of the American composer along lines of MacDowell's own suggestion. A sum of about thirty thousand dollars had been raised for MacDowell's benefit. This amount was entrusted to the Association. Mrs. MacDowell deeded to the Association the farm at Peterborough and the contents of MacDowell's home. The Association at once undertook the development of what has since become known as the "Peterborough idea" and before MacDowell's death had actually established, in a modest way, a Colony for Creative Artists.

LIFE IN THE COLONY

In an article in the North American Review, Edwin Arlington Robinson writes: "It is practically impossible for me to say, even to myself, just what there is about this place that compels a man to work out the best that there is in him and to be discontented if he fails to do so. The abrupt and somewhat humiliating sense of isolation, liberty, and opportunity which overtakes one each morning has something to do with it, but this sense of opportunity does not in itself explain everything … The MacDowell Colony is in all probabilities about the worst place in which to conceal one's lack of a creative faculty."

There is nothing camp-like about the place either in appearance or in manner of life. There are comfortable living houses for the men and women with all the conveniences of running water, electric light, and telephone. A common dining room is in Colony Hall. Here good wholesome food is served as it would be in any well-managed household. This much for the creature comforts. For the other and the more important side of Colony life there are fifteen individual studios scattered here and there through the woods.

The daily routine of life in the Colony is somewhat as follows: After breakfast there is a quick scattering of the residents as each one hurries off to his studio. It may be recalled here what an important place MacDowell's Log Cabin plays in this scheme, and how the idea has been to reproduce for as many people as might be in the Colony conditions similar to those MacDowell enjoyed—a comfortable home and an isolated workshop. Each one of the fifteen studios is out of sound and sight of the others. In order that the writer or painter may not be disturbed by the sound of a piano, the composers' studios are as isolated as possible. All the studios have open fireplaces and pleasant verandahs and are furnished simply but always attractively. Each studio has been planned for its own particular site. Some are hidden in the woods, some command views of Monadnock or East Mountain, and some long vistas through the trees.

In order that the working day may be long and uninterrupted, at noon a basket lunch is left at each studio. Dinner is the time for relaxation and social intercourse. Long pleasant evenings are passed in the big living room of Colony Hall which is also the library, or in the Regina Watson Studio which is near Colony Hall and in the evening is used as a general music room, or in leisurely walks to the village.

It should perhaps be added that daily life in the Colony is not the cut and dried affair that this quick resume might seem to imply. No one, of course, is required to stay in his studio all day. No one is required to do anything. These artists are independent men and women, not supervised students, and to all intents they are as free as the wind. There are only two rules to which every one must conform. One is that the studios, with the one exception of the music-room, shall not be used at night. The reason for this rule is the danger of fire. The other rule is that no one shall visit another's studio without invitation. The purpose of this rule is protection against unexpected interruptions. In all other ways the colonist is free to do as he pleases—free except for that irresistible compulsion to work which nobody who lives in the Colony can escape. For, as Mr. Robinson says, the Colony is "the worst loafing place in the world."

THE TRIUMPH OF EFFORT

A curious distrust of idealistic enterprises prevails in the world even among people whose own life work is idealistic. This distrust the MacDowell Colony has had to fight from the start. It has had to prove that its ideals are practical. It has had to demonstrate this to the very workers for whom it was founded and who