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¶ 1 Leave a comment on paragraph 1 0 June 18, 1853.]

¶ 2 Leave a comment on paragraph 2 0 THE ILLUSTRATED LONDON NEWS.

¶ 3 Leave a comment on paragraph 3 0 493

¶ 4 Leave a comment on paragraph 4 0 INSPECTION OF THE WEST ESSEX YEOMANRY CAVALRY, ON WANSTEAD FLATS.—(SEE NEXT PAGE.)

¶ 5 Leave a comment on paragraph 5 0 PRINCESS’ THEATRE.

¶ 6 Leave a comment on paragraph 6 0 The spectacular tragedy of “ Sardanapalus,” abridged from Byron’s poem, and accompanied with scenes and costumes accordant with the drawings and discoveries of Layard and Botta, and the friezes in the British Museum, was brought out on Monday, as we had already announced, for the benefit of Mr. and Mrs. C. Kean, and more than “ kept the word of promise to the hope.” It is, verily, the most magnificent piece of stage-mounting that we ever witnessed; nay, we believe that was ever yet attempted. It excels the most gorgeous of Parisian examples, and is an honour to the national stage of the country. What with foreign translations, adaptations, and travestie, the theatre of England has been converted into a provincial copy of the French. But a production like this redeems at once its reputation for originality, both in regard to the poem produced, and the manner of its production. One of the noblest of Byron’s dramas—the fullest of character, and replete with poetic feeling—the tragedy of “ Sardanapalus ” connects itself with the most astonishing of modem archaeological discoveries. It was a happy conception to make it the medium of placing on the boards the disinterred glories of ancient Nineveh, with the most perfect accuracy, of detail, to the full extent of the pictorial and scriptural authorities recently brought to light. In realisation of this idea, resort has been had to the talent—we might almost say the genius—of such artists as Mr. Grieve, under whose direction Mr. Gordon has painted a magnificent diorama of the city of Nineveh and the river Tigris; Mr.

¶ 7 Leave a comment on paragraph 7 0 F. Lloyds, a nothing-less-than-wonderful perspective of the Hall of Nimrod, with its entablatures and cherubic symbols; and Mr. Dayes, a chamber in the Royal palace, doomed to conflagration, and opening on the city at the moment of its destruction, with its winged lions and portal embellishments—quite a marvel in its way. Mr. Oscar Byrn likewise has contributed dance and action to the general illustration, with that originality of mind and power of adapting himself to the theme, for which he is remarkable. The art of this grand master of pageants was early displayed. After a soliloquy by Salamenes (Mr. Ryder), the voluptuous Monarch entered, in his chariot, drawn by a pair of bays, preceded by a train of women, slaves, nobles, archers, spearmen, musicians, standard-bearers, and dancing girls, whose Bayadere movements were equally picturesque, striking, and characteristic. The costumes and accessories of these crowds have been carefully imitated from the friezes, and, in their glittering array, more than suggest the wealth of the Queen of Cities, hurried to its fall by the undue prevalence of luxury and splendour. On descending from his gorgeous chariot, in his scarlet robe and scarf, adorned with gems and gold, and bearded like the figures on the sculptured monuments, Mr. C. Kean further sought to realise the resemblance to the pictures by assuming the angular positions of the limb and body to which the artist, in the crudeness of his skill was reduced. The action of Oriental people does not justify this assumption; their manner having a general sweep and roundness, Which the rude artist, however, was incapable of imitating; but an apology for the servile adoption of this imperfect manner

¶ 8 Leave a comment on paragraph 8 0 may be readily accepted in the laudable desire evinced to conform to the pictorial authorities, for the purpose of promoting the utmost possible vraisemblance. At any rate, the make-up of Mr. Kean was so perfect that the illusion was complete. There were a grace and suavity in his delineation, and a quietness of elocution that place his performance beyond competition. Mr. Kean’s superiority was particularly seen in the Epicurean gaiety of his scepticism; and still more especially in his recital of that awful dream with which his utter ruin was preceded. Mr. Kean trusted to level speaking and a passionate delivery, not travelling beyond the natural key, but solemn and impressive withal, which was thrillingly effective. We had here one of those occasional strokes of genius in his acting which so frequently remind us of his great father. His death-scene likewise possessed the same specific kind of merit: it was calm, dignified, intensely pathetic. In all these great situations, Mrs. Kean assisted as Myrrha —portraying the Greek girl with appropriate statuesque effect. Her attitudes were frequently beautiful, always expressive; and her declamation was uniformly sustained and powerful. Mr. Ryder, as the Queen’s brother, acted with force, discretion, and singular aptitude. In abridging the play, Mr. Kean has been undeniably judicious. May we, however, venture to suggest that the entire part of the injured Queen might have been omitted with advantage ? It is true that Miss Heath was not, and could not be, matronly enough; and, with the best intentions, only succeeded in throwing the part out of harmony and proportion; but the situation itself is one alien

¶ 9 Leave a comment on paragraph 9 0 SCENE FROM THE TRAGEDY OF ” SARDANAPALUS,” AT THE PRINCESS’ THEATRE,—THE HALL OF NIMROD.