through Doctor's window. Doctor follows him, and CLOWN running out of the door, tumbles down on

The Doctor

CLOWN goes

his own slide. Jumps up and hides.
comes out and rushes off in pursuit.
in and steals a lot of pill-boxes and bottles; he
and PANTALOON sit down in front to share them.
Enter HARLEQUIN, who comes behind and tickles
CLOWN, who thinks it is PANTALOON, and knocks
him over. They then sit down again to share
plunder.

Enter Doctor, who shakes his fist at them, and

fetches in Policeman, who quietly sits down between them. As fast as CLOWN has been giving PantaLOON his share in front, he has reached behind him and stolen it. As he is putting down something, he happens to look up and see Policeman. Terror; he slides away and bolts off the stage; PANTALOON follows, closely pursued by Policeman. Enter HARLEQUIN and COLUMBINE. Dance. Stage gradually darkens; music ceases; they begin to grope about in the dark; CLOWN steals HARLEQUIN'S bat, and he and PANTALOON take him prisoner.

Scene changes to Transformation. FAIRY discovered. Colored fires. The Characters form a group.

Fairy. You've had enough of frolic and of fun, Your troubles end, the Pantomime is done.

[To audience] To you, kind friends, our grateful thanks are due;

We've done to please you all that we could do.
To pardon faults, we pray your condescension,
And ask your hands to mark our good intention.

COSTUMES.

JACK.-First dress: Coarse blouse, with belt; cap. Second dress: Harlequin outfit, consisting of ornamented tights, like those worn by circus actors.

THE WOLF. First dress: Wolf mask; rough shawl or jacket;

brown gloves. Second dress: As Clown, like the circus clown, with figured tights, and whitened face.

DAME MARGERY.-First dress: A flowered gown, tucked up all round, showing a quilted petticoat, or balmoral; cap with frill. Second dress: Tub-jacket of orange, made very full, with a prominent ruffle all round the waist; full breeches of same; red stockings; yellow shoes; long white beard and hair; red nose.

RED RIDING-HOOD.-First dress: Ordinary frock; scarlet hood. Second dress: White tarlatan, with spangles; red flowers in the hair.

THE FAIRY.-See description of Titania's dress on page 40. THE OTHERS Who appear in the Pantomime must, of course, dress in character.

REMARKS AND SUGGESTIONS.

This piece may be performed without the Comic Business, if desirable, but we would recommend the Pantomime to those who like broad fun. Nor is it difficult to get up. The scenery and properties for the drama proper are easily prepared. The transformation scene should represent a fairy grotto, and be

made very gay and sparkling. The first dresses of the principal characters should be worn over the second, and so contrived that they may be undone and thrown off suddenly, with some assistance from the wings. The properties for the Comic Business must be made of muslin, stuffed and painted. It does not require much ingenuity to give them some resemblance in shape and color to pats of butter, fish, rounds of beef, and loaves. The loaf and round of beef, which go up, must be attached to a string, running through a ring somewhere at the top of the theater, and pulled by the prompter. The poker can either be painted red, or rubbed while warm with red sealing-wax. For the comic scene, a clothes horse or two will be found to make a good stable foundation for scenery. When covered with paper, and painted to represent shop-fronts, it can be stood in such a way as to allow the clown to jump through the window without tumbling down.

The part of granny is to be read by the prompter, who also aids in getting rid of the dummy. The butterfly, in Scene II., is affixed to a wire held at the wings.

Of course the clown's part should be assigned to a comic genius. Dame Margery is to be played by a boy.

SCENE:-CARMINE'S Studio. An easel, with canvas; several portraits on the wall. Enter CARMINE, followed by Boy.

Car. Lay these colors in the window, by the pallet. Any visitors, or messages?

Boy. A message from my Lady Pen-I can't remember her name, but 't is upon the slate.

Car. Let's see,—[Takes slate] Oh! Lady Pentweazel, from Blow-bladder Street,-Admit her by all means! [Exit Boy] Lady Pentweazel! ha, ha! Now here's a proof that avarice is not the only or last passion old age is subject to this superannuated beldame gapes for flattery, like a nest of unfledged crows for food; and, like them, too, gulps down everything that 's offered her-no matter how coarse. Well, she shall be fed.. [Enter Boy.

Boy. Sir, my Lady Pen

Car. Show her up stairs.

[Enter LADY PENTWEAZEL. She glances at the pictures.

Lady P. Fine pieces! very likely pieces! And, indeed, all alike. Hum! Lady Fussack-and, ha, ha, ha! Lady Glumstead, by all that's ugly.-Pray now, Mr. Carmine, how do you contrive to overlook the ugliness, and yet preserve the likeness?

Car. The art, madam, may be conveyed in two words: where nature has been severe, we soften; where she has been kind, we aggravate.

Lady P. Very ingenus, and very kind, truly. Well, good sir, I bring you a subject that will demand the whole of the first part of your skill: and, if you are at leisure, you may begin directly.

Car. Your ladyship is here a little ungrateful to nature, and cruel to yourself; even Lady Pentweazel's enemies (if such there be) must allow that she is a fine woman.

Lady P. Oh, your servant, good sir! Why, I have had my day, Mr. Carmine; I have had my day.

Car. And have still, madam. The only difference I shall make between what you were and what you are, will be no more than what Rubens has distinguished between Mary de Medicis and a regent.

Lady P. Mr. Carmine, I vow you are a very judicious person; I was always said to be like that family. When my piece was first done, the limner did me after Venus de Medicis, which, I suppose, might be one of Mary's sisters: but things must change; to be sitting for my picture at this time of day-ha, ha, ha! But my daughter Sukey, you must know, is just married to Mr. Deputy Dripping,