New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-06-14

eulation in the ihester and which s almost ostentsr
tousy studded with notes and extracts to give author
not having previously studied the subject do not arm
themselves with copy Of this particular play book,
not in condition to appreciate the labor that has
been expended in bringing oat result 20 perfect
The grand scene Of the revival Is unquestionaDiy
that of the presencechamber in York.place, where
the artfce of gaining appearance OF INDEFINITE e1
tent by placing the room in diagonal position 70 re-
peafed with even more success than IN sardanapeus
whsre it was employed I'VE believed for the first time.
IL impossible 10 take in glance the quanuy
of gli,tering chandeliers the variety OF gorgeous
dresses, the number of quaint ornaments with wnien
the tables loaded. One spcndor rapidly succeeis
another Now the guests take their seats and form
new toblesu in the presence of the bospitape Car
dinal; now they break away TO make room 'or tne
King and his attendants, and even this breaking ava!
il a masterpiece Of contrvence; now q singular Pes
densenpbe s executed by the royal visitors, ana ~
rendered singular still by the courty pastoral
attire and the gilt masks of the dancers now dance
of the Kings torch-bearers is introduced, win esn
series Of the strsngest gestures This one scene
in iteelf complete direTttssemeH but win al io
seemingly reckless splendor tis careful
of the court life of the sixteenth century, anu tne.
scarceIy movement not referable TO some authority
The Information we possess as to the usages OIL ue
period il remarkably c0pous, and the manager nus
fully ayaed himself of the knowledge that Is onered
In Sardanepalus and in Macbeth WIDE hea wa wa
open 10 conjecture and party might Object 10 tne
Assyran Dances another might entertain theories
respecting the stripe and the tartan adverse 10 te
clothing presented upon the stage But respecllo
Henry VIII Mr.. Charles Koan is sIong in his Caven-
dish and his old prints and raises for himself FORTH
cation of authorizes sufficient quail all adversares
who are not prepared to assali him by throwing up an
equally formidable battery of ponderous foios.
In tie scene of Queen Katharine trial he has even
sacrificed dramatic effect TO historical accuracy, and
az himself and Mrs Charles Kean are the CHIEF sut'
ferers by the change his conscienonsness Is the more
commendable Everybody is familiar with larlowe's
celebrated picture of the Kembe family in which the
Queen standing on side, denounces the Cardinal,
seated the other while the King enthroncd at the
back seems rather like the judge in the cause than
one of the contendng parties This arrangement was
almost necessary for Mrs. Siddons neyerforgotten
"pont in uttering the words" Lord Cariinal-to
"you speak, for it at once marked out the obnox-
ious Wolsey the object OF her attack by the new
arrangement made on the authority OF CdrendtshJ
Wosey is thrust the back of the stage, a. not TO
be more conspicuous than his iellowjudge Campcggio
Tor Campous and the less interesting King is brought
into the foreground.
After the scene in York place the ta5leau that ismost
likely to leave strong impression on tie memory OF
the spectator is the vision of Queen Katharine.
broad pencil of sunbeams deecends diagonally from
window and when the Queen falls asleep this becomes
transparent, and reveais number OF angels VINO
glide down the sleeper by means OF the coltriyance
known in Paris that Of Les temSses cOiaates" In
old tunes such an appailon could only nave Oeen OK
hibed by means OF some unaccountabie gap, out the
beauty of the new arrangement is, that while the SUI
pernatura effect is produced the original character OF
tie scene is perfectly retained
JLeSc may DC fdhlY cOnsiucEcu Inc Brdiiu tuOtcHfC
of the piece; but the lees conspicuous pictures are
well worthy of minute attention, not only Tor the
archaeological accuracy which belongs to them IN COM
mon with the rest, but for the exquisite Taste displayed
in their composition. The enrance of Buckingham
ON his arraignnent is made 10 take place at
the King s-stairs Westminster, the top OF which
he pronounces his farewell address, and then de-
sends into the barge which is TO convey HIM
TO the Tower. The crowd that witnesses the
melancholy spectacle is arranged that the
men, atired in dark vestmens, form heavy
mass side of the stage, while the sombre tone
is manta aimed by the women the opposite side,
though partially relieved by the white neckercbies OF
the latter. The water and the sky form Light back
ground, bringing out IN perfect relief the figure OF
buckingham. Hndt the whole group been invented for
the canvas 1t could not have been more artsucaly
constructed. So in the procession that takes place on
tie occasion of AIne Boeynes coronation the tower OF
Westminster Abbey that rises in corner OF the stage,
ia scarcely less striking than the gliierlng figures that
pass along the platform. During ruder period of
stage management il would have been deemed sufh-
Gent TO place effective at the back and to as
sembe the characters on the stage without any regard
to a general combination, when decided tateau
rivont was intended. Mr.. Macready was, we believe,
the first who gave pictorial Importance TO masses In
action and his principle is carried TO perfection by Mr.
c. Kean. The beautiful paintings OF Messrs. Greye
and Ielbn are as it were continued into the moving
multitude in front, and, moreover. this Is SD lar DIS
cplined TINT every figure expresses some variety Of
emotion and the old-fashoned and semicrcies OF
inanimae personages are completely avoided. ~
"Pomp,' says DIR. johnson, dribbhng out his little
need of praise 81 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 oil tragedy
The return of Mrs Charles Kean to the stage IN the
part of Queen Katharine one OF the great features
of this revival, and her deneation of the meek sor
crows" and ''virtuous distress is refined and
touching possible. In her first scene the Council
ChambeIl when she tries TO damp the lfeeling against
the Duke of Buckingham, she conveys by her hrmness
and at the time by the mild tone OF her remon
strence that combination of strong OF recttude
with excessive mdness of disposition, which makes up
the entirety of her character The revival of the scene
in the third actomitted of late years-in which the
Queen receives the visit of the two Cardinals, is most
judicous az it gives the part development which is
generally missed. In the trial scene the wrongs OF
Katharine have 30 completely aroused the dignifed
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 compare
tive privacy that the extent of her suffering may be
appreciated The revelation of sorrow is exquisitey
made by Mrs. Charles Keap. The Indignation against
her visitors passes away, and the whole misery Of her
POSITION rusbes rnon her at the words
lam ,ue most unhappy woman living
with an Intensity that could not be surpassed. The
last scene is of course the most elaborate study Oh the
whole she has indicate by visible signs me gradual
but sure approach Of DEATH and the feeble movements
the involuntary play Of the hands and the uncertain
reze are admirably sustained throughout: The Dig
nity of character which has been so prominent at inc
trial is now displayed by the ohense taken py tne
The Queen at the unrannered entrance OF the seucy
fellow as she calls the messenger, and MIS-. mean
has tax en- care TO show how the high feeling OF lazy
who. though meek is still an Arrae onese may DC lem
pered down by physical debility INTO invena Pe.'isn
ness; there is even something OF puerile spite IN her
REQUEST 'But this fellow let me ne'er see again;
when sfer being seemingly paeifed, she returns to
the subject of offense. This scene Is unquesuonsDy
one of the most arduous in the whole cycle Oh t1e
English drama All the emotions that have previously
;,Aancsd the Oueen are brought together WITHIN us