painting, and will bear the closest inspection. It
is impossible, even with a strong glass, to distinguish between some of
the frescoes and the bas reliefs. The stage is very large, and rises
gradually from the footlights to the rear. The orchestra pen is sunk
below the level of the stage, so that the heads of the musicians do not
interfere with the view of the audience. The dressing of the stage is
novel. The side scenes, or wings, instead of being placed at right
angles to the audience, as in most theatres, are so arranged that the
scene appears to extend to the right and left as well as to the rear. In
this way the spectator is saved the annoyance of often looking through
the wings, a defect which in most theatres completely dispels the
illusion of the play. The scenery here is not set by hand, but is moved
by machinery, by means of immense hydraulic rams beneath the stage, and
the changes are made with such regularity and precision that they have
very much the effect of "dissolving views." The scenes themselves are
the work of gifted and highly educated artists, and never degenerate into
the rough daubs with which most playgoers are familiar. The building is
fireproof, and is warmed and ventilated by machinery. The great central
chandelier and the jets around the cornice of the auditorium are lighted
by electricity.

The plays presented here are superbly put on the stage. The scenery is
strictly accurate when meant to represent some historic locality, and is
the finest to be found in America. Perhaps the grandest stage picture
ever given to an audience was the graveyard scene in "Hamlet," which
drama, in the winter of 1869-70, "held the boards" for over one hundred
nights. The dresses, the equipments, and general "make up" of the actors
are in keeping with the scenery. Even the minutest detail is carefully
attended to. Nothing is so unimportant as to be overlooked in this
establishment.

With a few exceptions, the company is unworthy of the place and the fame
of the proprietor. Mr. Booth, himself, is the great attraction. It is
his custom to open the season with engagements of other distinguished
"stars," and to follow them himself about the beginning of the winter,
and to continue his performances until the spring, when he again gives
way to others. When he is performing it is impossible to procure a seat
after the rising of the curtain.

[Picture: GRAND OPERA HOUSE.]

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