the opposite slip the lame deity himself, hammer and pincers
on shoulder, followed by a train of gigantic Cyclops, who bore on their
shoulders various pieces of gilded metal work.

Hephaestus, who was intended to supply the comic element in the vast
pantomimic pageant, shambled forward with studied uncouthness, amid
roars of laughter; surveyed the altar with ludicrous contempt; raised
his mighty hammer, shivered it to pieces with a single blow, and
beckoned to his attendants to carry off the fragments, and replace it
with something more fitting for his august spouse.

With wonderful quickness the metal open-work was put in its place, and
fitted together, forming a frame of coral branches intermingled with
dolphins, Nereids, and Tritons. Four gigantic Cyclops then approached,
staggering under the weight of a circular slab of green marble, polished
to a perfect mirror, which they placed on the framework. The Graces
wreathed its circumference with garlands of sea-weed, shells, and
corallines, and the mimic sea was complete.

Peitho and the Graces retired a few steps, and grouped themselves with
the Cyclops, whose grimed and brawny limbs, and hideous one-eyed
masks, threw out in striking contrast the delicate hue and grace of the
beautiful maiden figures; while Hephaestus turned toward the curtain,
and seemed to await impatiently the forthcoming of the goddess.

Every lip was breathless with expectation as the flutes swelled louder
and nearer; horns and cymbals took up the harmony; and, to a triumphant
burst of music, the curtain rose, and a simultaneous shout of delight
burst from ten thousand voices.

The scene behind represented a magnificent temple, half hidden in an
artificial wood of tropic trees and shrubs, which filled the stage.
Fauns and Dryads peeped laughing from among their stems, and gorgeous
birds, tethered by unseen threads, fluttered and sang among their
branches. In the centre an overarching avenue of palms led from the
temple doors to the front of the stage, from which the mimic battlements
had disappeared, and had been replaced, in those few moments, by a broad
slope of smooth greensward, leading down into the orchestra, and fringed
with myrtles, roses, apple-trees, poppies, and crimson hyacinths,
stained with the life-blood of Adonis.

The folding doors of the temple opened slowly, the crash of instruments
resounded from within; and, preceded by the musicians, came forth the
triumph of Aphrodite,