32 Shelbourne Road, Dublin, March 18th 1908. My dear Archer, Your letter of the 15th instant arrived her on "st. Patrick's Day in the morning", as the song says, a general holiday and therefore an awkward juncture to get any work done. But I was lucky enough today to get hold of a trastworthy [sic] photographer who undertook to make the slide instanter, and send it off by tonight's mail. If by any chance it should fail to hit the Celtic I will see that it is forwarded direct to your New York address by Saturday's mail. Miss Arbuthnot's translation of Brodmeier and your typewritten notes came safely to hand yesterday. Already I have read with considerable interest more than half the translation. What a pity it is that Brodmeier based so rigidly on the Swan sketch! From his own standpoint the work is capably enough done - if one could only concede the postulate of the central curtain. I am not yet prepared to admit the presence of a permanent third door, but after examining a number of Siege scenes I think there is something to be said for Wegener's theory regarding th placing of folding doors in the aperture of the Rear Stage to represent gates. Brodmier's supposition that in scenes of the kind the two permanent back doors represented the gates is
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For more information on copyright or permissions for this image, please contact Honnold Mudd Library Special Collections at http://libraries.claremont.edu/sc