Punch, or the London Charivari | Page 5

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.
* * * * *
CHEAP LAW IN THE CITY.
Probable Development of the new "London Chamber of Arbitration,"
for the economical Settlement of Disputes without recourse to

Litigation
[Illustration: "'Ave yer got sich a thing as a second-hand murder
defence, Guv'nor?"
"Could you direct me to the Breach of Promise Department?"]
* * * * *
OUR BOOKING-OFFICE.
The one volume entitled My Flirtations, written by MARGARET
WYNMAN (so like a real name!), and published by Messrs. CHATTO
AND WINDUS, consists of short stories setting forth the varied
experiences of an uncommonly 'cute young lady. It is a literary
portfolio of lively sketches of men and women, "their tricks and their
manners," all most amusing, and told in a naturally easy and
epigrammatic style. Some of the characters are evidently intended for
portraits, which anyone living in the London world could easily
label--(which by changing "a" into "i" would be the probable
consequence)--were he not baffled by the art of the skilful writer, and
by the equally skilful illustrator--our Mr. PARTRIDGE--who have, the
pair of them, combined to throw the reader off the right scent. The one
mistake--not a fatal error, however,--which this authoress has made, is
that of getting herself engaged in the last story. Not married,
fortunately; only engaged. Consequently the match can be broken off.
Let her be "engaged" on another volume. She can be married at the end
of volume three, and may give us her experiences as the wife of Mr.
Whoever-it-may-be. Will the clever authoress accept this well-meant
hint from her literary and critical admirer, THE GALLANT BARON
DE B.-W.?
* * * * *
ROBERT WITH THE CHILDREN AT GILDHALL.
Well, I don't quite kno as I quite hunderstans what's bin a goin on in
our old Sacred Gildall, or weather it's all xactly what sum of our werry

sollemest Holldermen, or ewen our werry anshent Depputys, might
admire; but I must say, for myself, that too thowsand more owdashus
boys, and larfing gals, I never seed nor herd than I did on Toosday larst,
for about fore hours, in old Gildall aforesaid!
Jest to show how the werry best, aye and the werry wisest on us, gets
carried away by the site of swarms of appy children a enjoying
thereselves, as