New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-06-15

ensemble may be colby analysed, and that every ban
ner. every dress, every gew-gaw Of q by-gone pomp
NAV he separately considered This hope proved py
the edition of the play which has been printed for c-
culston in the hesier and which is almost osenta-
ousIy studded with notes and extracts to give author-
ty for every item Of the general pendor. Those VINO
not previously studied the subject do not arm
themselves with copy OF this particular play DooA,
are not in a condition TO appreciate the apor thas mas
been expended in bringing out result SO perfec'.
TIE Grand scene OF the revival Is unquestonaoiy
that of the presence-chamber in York.place, where
the artifce of gaining an appearance OF inoenne ca
tent by placing the room IN diagonal Por,uon IT,
heated with even more success than IN Sarhanapaius
where IL was employed I'VE believe for the first time
II seems impossible to take in at glance the quantity
of gliitering chandeliers, the variety oil Gorgeous
dresses, the number of quaint ornaments with WIZ
the tables are loaded. One spendor rapidly succeeds
another Now the guests take their seats and form
new tableou in tie presence OF the hosptaole Gar
dinal; now they break away to make room LOT lhe
King and bis attendants, and even this oreakig away
is a mgserpiece Of contrivance; now singular pas
d'ense,abe is executed by the royal visitors and %
rendered more singular still by the courtly pastoral
attire and the gilt masks Of the dancers now dance
of the Kings torch-bearers Is introduced WIN lresn
series Of the sirangest gestures. Ihs one scene Is
in itself complete advertisement but with all IT'S
seemingly reckless spendor II acaeiul rep reduction
of the court life of tie sixteenth century, anu there IS
scarcely movement not referable 10 some authority
The information we possess es TO the usages OF the
period is remarkably copious, and the manager mas
fully awaited himself of the knowledge that is offered
In Sardanapaus and in Macbeth wide field was
oren to conjecture and one party might OBJECT 10 the
Assyrian dances another might entertain theories
resIecting the stripe and the TARTAN adverse TO the
clothing presented upon the stage But with resPectto
Henry VIII Mr. Charles kean is strong IN his Caven-
dish and his old prints, and raises for himself forn
cation of authorities sufficient quail all advcrsares
Who are not prepared to assai him by throwing up an
equally formidable battery of ponderous foios.
In the scene of Queen Katharines trial he has even
l.. ,n@.na 70 4orf, nj
as himself and Mrs. Charles kean ere the chief suit
ferers by the change his conscentousness the more
commendable. Everybody is familiar with Hariowes
celebrated picture of the Kemble family, IN which the
Queen standing on side, denounces the Cardinal,
seated on the other while the King enthroned at the
back, seems rather like the judge IN tue cause tnah
one of the contending parties. This arrangement was
almost necessary for Mrs. Sddons neyer-torgotten
"poiut in utterng the words" Lord Carlinal-to
YOU speak for it at once marked out the obnox-
ious Wosey the object of her attack. by the new
arrangement made on the authority OF CareHatsN/
Nosey is thrust TO the back Of the stage so as not 10
be more conspicuous than his fellowjudge Campeggo
Tor Campeius and the less interesting King is brought
into the foreground.
After the in Yorkpace the fa51edH that Is most
likely TO leave strong impression on tue memory OF
the spectator is the vision of Queen hatharlne "A
broad pencil OF sunbeams descends diagonaly from
window and when the Queen falls asleep this becomes
transparent and reveals number OF angels VINO
glide down to the sleeper by means OF the continuance
known in Paris that of " Les temmcs rofaHtes' In
old times such apparition could only have been ex
hibted by meaus OF some unaecountapie gap, put 'hc
beauty OF the new arrangement Is that wnilo the SUI
pernaiura effect is produced the original character OF
tie scene is perfectly retained.
These NAV be fairly considered the grand tdofedHc
of the piece; but the less conspicuous pictures are
well worthy of minute attention, not only Tor me
archaeological accuracy which belongs TO them IN com.
mon with the rest bu for the exquisite taste displayed
in their composition The entrance OF Buckingham
om his arraigument" is now made TO take place at
al l. fu-sfa
he pronources lis farewell address, and then de-
sends into the barge which IS 70 convey nun
10 the Tower. The crowd that witnesses the
melancholy spectacle is 80 arranged that the
men, attred in dark vestments, form heavy
mass on one side of the stage, while the somDre tone
is maintained by the women on the opposite SIDE,
though partially relieved by the white neckerchies OF
the latter. The water and the sky form hgnt pack
ground bringing out in perfect relief the figure OF
Buckingham. Had the whole group been invented tor
the canvas il could not have been more artishcaly
constructed. So III the procession that takes place on
the aston Of Anne Boeynes coronation the tower OF
Westminster Abbey that rises in corner OF the stage,
is scarcely ess striking than the glitterng ngures hat
pass along tie platform. During ruder period OF
stage management it would have been deemed SUM-
Gent to place effective at the back and to as,
semble the characters the stage without any regard
10 general combination, save when decided Ea6feaH
riraRt was intended. MIR. Macready was, we believe,
the first who gave pictorial importance to masses In
action aud his principle is carried to perfection by Mr..
aud Telbin us it were continued into the moving
multitude in front, and moreover, this Is 80 far dis
cipned that every figure expresses some variety OF
emotion and the od-fashoned rows and scmicircles OF
inanimate persOnages completely avoided
"Pomp,' says DR.. johnson, dribbling out his little
need of praise is not the only merit OF this play; the
"meek sorrows and virtuous distress of Katharine
have furnished some scenes which may be justly
numbered among the greatest efforts OF tragedy
The return of Mrs. Charles kean TO the stage IN the
part of Queen Katharine is of the great features
OF this revival, and her delneaon of the meek
crows" ard ''virtuous distress" is as refined and
touching possible In her first scene the Council
Chamber when she tries 10 damp the l-feeling against
the Duke of Buckingham, she conveys by her frmness
and at the same time by the mild tone of her remon-
STRANGE that combination of strong of rechude
with excessive ldness of disposition which makes up
the entirety of her character The revival OF the
in the third act-omted Of late years-In which the
Queen receives the visit of the two Cardinals, is most
iudcious it gives the part development which is
generally missed. In the trial scene the wrongs of
Katharine have completely aroused the dignited
element of her nature that the gentle constituent is al
most forgotten and she must be followed to her own
apartment in the palace where she enjoys a compare
tive privacy, that the extent of her suffering may be
appreciated The revelation of sorrow il exquisitely
made BY Mrs. Charles Kean. The Indignation a. anst
her visitors passes away, and the whole misery OF her
position PUSHES upon her at the words
81 am the most unhappy woman living
with intensity that could not be surpassed. The
last of course the most elaborate study of the
whole she has to indicate by visible signs the gradual
but approach of death; and the feeble movements
the inv ountary play of the hands and the uncertain
gaze admirably sustained throughout The dig
nifty of character which has been prominent at the
trial il displayed by the offense taken by the
fellow as she calls the messenger, and Mrs Kean
he's taken TO show how the high feeling of lady