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Pharmacopoeia, and many other matters of a yet more recent date. I supposed this was local colouring, and when I saw the
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Banquetting Hall in the Palace, I felt sure that the Egyptian Court represented belonged to the Nineteenth Century, and could be easily discovered (either by season ticket or on payment of a shilling) in Sydenham. The Author supplies a note in the official programme, in which she informs the World that AMUN-MYKERA NITOCRIS was
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and no doubt these facts have suggested the five long Acts of the more or less poetical play. What story there is shows how the adopted son of and apprentice to an Embalmer, after being left to die in the Palace of _Nitocris_ for refusing to join in an unpatriotic toast, escapes, and twelve weeks later is lured back once more to the Royal realms to reject the suddenly-kindled love of the Egyptian Queen in favour of the affection of a Grecian orphan called _Soris_, who happens to be staying on a visit with her swarthy Majesty. Then _Soris_ gets half-poisoned and entirely stabbed, and _Nitocris_ and the Embalmer's Apprentice repair to a
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to be drowned in an inundation which is much talked about but never seen. As the Embalmer's Apprentice, Mr. J. H. BARNES fostered the impression that he was either a very slow and dull pupil, or that the art of embalming had taken him a middle-aged lifetime to thoroughly acquire. In the last act he looked like a portly Friar of Orders Grey sadly in need of the fast rising Nile. Mr. ROBERT PATEMAN was good as a nigger _Quasimodo_, who apparently had nothing in particular to do save to murder Miss ALMA MURRAY when that popular young _tragédienne's_ sorrows became monotonous and required curtailment in the interests of the audience. Mr. FERNANDEZ too was useful as Chief of the Magi, and Mr. BERNARD GOULD'S performance would have been more pleasing had he really died at the end of the Second Act, instead of living to see the final fall of the curtain. But this last was rather the Author's than the actor's fault. Personally I should have been better satisfied had every one died at the end of the First Act, but I confess I am a little exacting. On Wednesday, after the
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had been called and received more or less applause, there was a cry for the Authoress, when to my surprise a lady in a semi-masculine costume and seemingly in her
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made her way before the curtain. This was young
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CLO, --a most charming person to judge from her personal appearance. There was a further
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when a gentleman of much maturer years was seen bowing. I do not know if he was also a
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CLO, --if so, he was unquestionably a much older
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CLO --in fact, quite an elderly
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CLO. Ages ago a wonderful piece called _Nitocris_ was played at Drury Lane for a few nights with moderate success. In it was represented an inundation, that, if it did not precisely resemble the waters of the rising Nile, at any rate was a capital realisation of green-coloured muslin sprinkled with spangles. I am afraid that young
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CLO'S
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Gem of the Jubilee, ) and on Thursday last I again paid it a visit with about sixty-five thousand other persons. In spite of the hurricane of the preceding Monday, the building was in an excellent condition, and the reproduction of the old part of the ancient city had weathered the storm as if it had been intended to remain for a thousand years instead of half-a-dozen months. I was much struck with the extreme good-nature of a Lancashire crowd. In the afternoon a severe shower of rain, which I fancy must have come down from Town by the 10.10 Express from Euston (a train which maintained the tradition of the L. & N. W. R. by arriving to the minute) drove all the pleasure-seekers from the grounds into the building, and for a moment there was an
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Immediately the police and the other officials organised a stream right and left, and when it was found that there were many schools amongst the sight-seers, a cry of
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Make way for the children! secured the safety of the little ones. The picture galleries were as popular as ever, and I observed that the crowd generally gathered in dense masses near the paintings with historical events as their subjects. The arrival of the Princess of WALES at Gravesend was particularly favoured, and some regret was expressed that the Benchers of the Middle Temple had required the return of the portrait by HOLL of their Royal Treasurer. The splendid display of the works of Mr. WATTS did not attract much attention, one lady observing that it was
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and their opposite neighbours by Mr. BURNE-JONES, were also a little above the heads (in more senses than one) of the average shilling public. But LANDSEER, MILLAIS, POYNTER and HOLMAN HUNT had thousands of earnest admirers, and there were always enthusiastic groups in front of
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and
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It was delightful to walk through the galleries devoted to this unique, this magnificent collection of purely native Art, only saddened by the reflection that such an opportunity would never offer itself again. The machinery, from another point of view, was nearly as interesting. I have been present at many Exhibitions, but have never seen anything to equal the display of
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Both visitors and
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seemed to be equally in earnest; the first to watch, and the second to work. Then the music was excellent, as, indeed, it was obliged to be to satisfy the requirements of Manchester connoisseurs, who are not to be put off with second-rate bands. Lastly, the illuminated fountains were absolutely fairy-like with their colours reflected from below the water-line. And this reminds me there was also something else fairy-like--the _table d'hôte_ dinner served in the Conservatory, which seemed (with its many courses, of the daintiest proportions) to be exactly suited to the wants of _Titania_ and (if he took the hint printed on the menu, and