vourite
game of marbles. The "marble halls" lack polish; but the Market Place, The
Court of _Hypatia's_ House, _Issachar's_ snuggery, and a Street in
Alexandria, are highly effective pictures. But I should like to know if in
Mr. ALMA TADEMA'S design for the Monk's dress, Mr. FRED TERRY found a small
black and silver crucifix of very modern workmanship suspended from the
girdle, as this religious emblem did not come into use until a much later
date. By the way, ecclesiastical ornaments must have been cheap in those
days to warrant _Bishop Cyril_ (strongly rendered by Mr. FERNANDEZ)
flaunting about the streets of Alexandria in such rainbow robes as, in a
later age, would have led people to imagine that he had just broken out of
the stained glass window of a Gothic Cathedral. Two thousand years hence
the New Zealand dramatist may represent the Archbishop of CANTERBURY as
walking about London in his lawn sleeves with coronation cope and mitre, or
Cardinal HERBERT VAUGHAN as wearing his scarlet hat and robes, and riding
in a Hansom cab, having been unable to pick up his own Cardinal's train.
All this were hypercriticism, but that the name of ALMA TADEMA, R.A., is a
public guarantee for academical accuracy.

Anyhow, _Hypatia_, if not "a famous victory"--is at least a fine spectacle,
with some fine acting in it, but this is mainly confined to Mr. BEERBOHM
TREE. As the very heavy father, Mr. KEMBLE has not been allowed half a
chance. Why should he not alternate characters with Mr. FERNANDEZ, and for
three nights a week appear as _Cyril_ the Bishop, while FERNANDEZ would be
_Hypatia's_ parent who has to grovel on the steps while his highly educated
child is lecturing, who has to comfort her in her terror, and be turned out
neck and crop whenever nobody on the scene wants him, which by the way,
happens rather frequently.

The music to a Drama is generally a minor affair, but, in this instance, it
is both major and minor, and has been specially written for the piece by
Dr. HUBERT PARRY. As this play is not an "adaptation from the French," the
music of this Composer is the only _article de Parry_ about the piece, and,
being strikingly appropriate, it proves an attraction of itself. It is
conducted by the Wagnerian ARMBRUSTER, who, with his Merry Men, is hidden
away under the stage, much as was the Ghost of _Hamlet's_ father whom
_Hamlet_ irreverently styled "Old Truepenny." Altogether a notable piece.
_Prosit!_

THE B IN A BOX.