The National Register.
London, England, 1809-09-17 00:00:00

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pioacli to the appearance of boxes in their accominoda-
'tons : punning . a heodore has already declared, that these
one shilling boxes will prevent a good deal of boxing: We
advise the • Managers to' call them one shilling boxes, as a
-tort of mediatory term.
The stage is large and well calculated by.its depth for
the exhibition of processions and extensive scenery. Two
teryselegant and lofty pilasters itipport a semi-elliptical.
arch, over which is the 'toga! Arms. Two figures are.
painted on each Side of the arch- in' regqf they are fe-
Males, holding wreaths a laurel, trumpets, ?kc.. A crim-
sum fall Of drapery in rich (olds it painted within the arch,
•and covers the supporters of the curtain. The veiling is
painted to resemble a cupola, divided into square coinpart-
Vents.; and surmounted with the figure of an ancient lyre.
This, however; wants shadow to, give it the appearance
of concavity; without that imitation of natural shadow' it
looks fiat and deformed. The shape. of the' noose be-
fore the curtain is that of a rounded hersc-shec wide
at the heel. This shape is continued from the bottom
to the top of the house with unbroken uniformity,
sad by those means every sound as it enters is rep-
fairly diffused, and the slightest whisper. is rendered
audible. Still the width of the • proscenium is NA.
cieutly ample to present all the scenery to the view of
those in the sides of the pit, or the side boxes. The pri-
vate boxes include the whole of the third tier, which is im-
inediately . beneath the two-shilling gallery ; these boxes
have a saloon and an anti-chamber, with a private stair-
case entirely separate from any communicatiou with other
parts .of the house. The backs of them are painted, in
imitation of rich crimson drapery. Each of the galleries
has an exteesive lobby attached to it, and numerous vend
tilators are so disposed in different parts of the house, as to '
keep a constant supply of fresh air.
The general character of the interior is simple elegance.
There is nothing superior in splendour or attraction. We
have already said that we think, the portico seems to pro-
mise more. The exterior is characterized by massive and
masculine dignity ; the interior by a tender and well pro-
portioned delicacy of a feminine cast. Perhaps in neither
is there enough of that luxuriant brilliancy. which ani-
mates while it pleases, and seems to assimilate with
the nature of the drama; the dresses and vivacity of the'
inmates of the boxes,' and indeed with the general idea of
pleasure which should reign in a play-house. The portico
seems the enhance into the temple of the Tragic Muse
Vie interior should be the hall of Thalia: it is certainly
beautiful—it is suited to the character of Terence or Me-
treader, but the warmth and vivacity of Shakcspear demand
a richer degree of decoration.

IVe. are not surprised that several of the tradesmen who
have had the good fortune (fOr so it must be termed) to be
engaged in raising and completing an edifice so honourable
to the country, should be ambitious to be known to the
niblic. The desire is natural and laudable. The 'need of
fanic no doubt belongs to the architect, as the animating
principle of the whole; but, as the necessary instruments
of his powers, their labours were useful and important :
we have therefore endeavoured to procure the names of
all the master work Men engaged in the difThrent branches,
and we hope it is correct :
Copland
Bricklayer and Carpenter
Nlartyr
Plasterer - • • • Bernasconi
• Morris
Machatu

smith• - •
Mason •
Marble Mason . -
Decorative Paiuier
Chandeliers -
Lamps • •
Upholsterer - •
Glazier - -
Carpets • • • •

Titan

. JK►.
Armstrong
- Copland
_ Peacock
- Dixon
- Collins
- Phillips
Tatham
. Palmer
- Drury

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