deed he has made the best use of grand subjects, for the exhibition of the most splendid scenery that can adorn a theatre.

Formerly the opera performers were not only all Italians, or nearly so, but consisted of the best that Italy could furnish. Latterly, however, dancing has so greatly prevailed as to have threatened to triumph over the more refined and noble art of music. To allow time for the performance of ballets. operas which originally con. sisted of three acts have been reduced to two; and a ballet is now often extended to a greater length than an act of an opera.

Among the present vocal troop we find the respectable names of Billington, Grassini, Storace, Braham, Bolla, Vinci, Rovedino, Morelli, Viganoni, Gisvaoni, Righi, Braghetti, and Mrs. Weichsell. Signor Naldi is engaged, and will make his appearance early this season.

The ballet master is Signor Rossi, and the principal dancers Mademoiselle Parisot, Monsieur and Madame Laborie, and M. Didelot, in each of whom we find a grace of attitude, and an agility of action, which form specimens of the first degree of excellence in their art.

Mr. Gould, we understand, is in treaty with se veral performers of eminence on the continent, some of whom are shortly expected to enjoy the patronage and liberality of a British public.

The instrumental band has generally been esteemed the best in this kingdom; and it is but justice to observe, that our countrymen have, in this department of musical performance, attained the highest degree of accuracy and execution; and not only, originally speaking, kept pace with the best performers of Italy and Germany, but in many instances have exceeded them. The leader of the band is Mr. Weischell, brother to Mrs Bilhagton, and who is a correct and spirited per. former.

P

The opera usually opens for the season in December, and continues its representations on the Tuesday and Saturday of every week, till June or July. The doors open a quarter before six, and the performance begins at seven.

Persons may walk from the pit or boxes behind the scenes during the performance..

DRURY-LANE THEATRE.

This magnificent structure unites a splendid combination of taste, grandeur, and elegance, which renders it a monument of fame to Mr. Hol land, the architect, and when its exterior is com pletely finished, it will be a national ornament.

It was raised on the site of the old house, and opened in the year 1794. There are four tiers of boxes, a pit, and two galleries, with a number of private boxes, ranged on each side the pit, and constructed so as to afford a perfect view of the stage, and yet conceal the occupiers from observation.

The stage is a hundred and five feet in length, seventy-five feet wide, and forty-five feet between the stage doors.

To facilitate the working some scenery, and light machinery, there is a stage about ten feet below the upper one, where the carpenters attend either to raise ghosts, pantomime demons, or to obey the magic wand which consigns them to oblivion. Under this second stage there is a depth of about forty feet, furnished with various mechanical engines, requisite for raising the splendid and massy pillars, temples, &c. which enrich the scenery, and contribute so essentially to the effect produced by the grand ballets and pantomimes exhibited at this theatre.

Under the pit is a large range of lofty vaults, and immediately over it a spacious store-room, and one for painting scenery, about seventy feet wide

and fifty-three feet long above the galleries is another painting room about seventy-five feet by forty.

There are two green-rooms, one for the use of chorus singers, supernumeraries, and figurants, the other for the principal performers, the latter of these apartments is elegantly fitted up. The scenery of this theatre, under the direction of Mr. Greenwood, (whose abilities rank very high in his profession,) is always bold, impressive, and effective, and has frequently been aided by the chaste and humouring pencil of Marinari, the deservedly distinguised painter to the opera. Mr. Johnson, the machinist, stands eminently unrivalled in the various departments of decorative embellishment, which at once characterises the splendour of taste, connected by a punctilious adherence to his superior judgment and knowledge of costume.

The management of the stage is undertaken by Mr. Wroughton, whose sound judgment and consolitary manners, aided by the long experience in the scenic art, obtain for him universal esteem in this very arduous situation.

The pit is 54 feet in length, and 46 in breadth, has 25 rows of benches, and is so well constructed that those next the orchestra command an uninterrupted view of the whole stage, and the avenues to it are very commodious and safe.

The interior of this theatre resembles the shape of a horse shoe, and the spectator is forcibly struck with the grandeur of design, elegant execution, and splendid effect of this superb edifice. The prevailing colours of the boxes are blue and white, relieved with richly fancied embellishments of decorative ornament. The compartments in which the front of each tier is divided, has centrally a highly finished cameo, the ground of cornelian stone colour, with exquisitely drawn figures raised in white, the subjects: chiefly from