sent state of philology did not enable the scholar to advance an opinion as to the form of the extinct original language, yet from facts, which were gradually accumulating, it was possible in a generation or two hence, sufficient data might be collected in order to speculate with certainty on this most important and interesting point.

THE ELECTROTYPE PROCESS.-We take the following interesting account from the Builder :-" An enormous applica tion of the electrotype, or galvano-plastic process, has been made in the sculpture of the cathedral of St. Isaac, at St. Petersburgh, by the architect. After having made very important experiments, he was authorised to adopt this mode in the execution of the metallic sculptures and carvings, for the following reasons:-1. The identical reproduction of the sculpture without chiseling. 2. The lightness of the pieces, which enabled the architect to introduce sculptures of higher relief than any hitherto known, and to fix the pieces suspended from the vaultings without fear of accident, or of their being detached. 3. The great saving of expense between these and castings in bronze. The gilding also was effected by the same process, and presented equal advantages. The seven doors of the cathedral will be of bronze and electrotype, the framework being of the former, and the sculptural parts of the latter. Three of these doors are 30 feet high, and 14 feet wide, the four others 17 feet 8 inches wide. They contain 51 bas reliefs, 63 statues, and 84 alto-relievo busts, of religious subjects and characters. The quantity of metal employed in the dome is as follows:-Ducat gold, 247 lb.; copper, 52 tons; brass, 321 tons; wrought iron, 524 tons; cast iron, 1063 tons; total, 1,966 tons.

The Theatres.

JOLLY Christmas, with his jocund holiday face all glowing with good cheer and good humour, has crossed our threshold. A general hurrah from the juveniles of every family greets the welcome visitor; while the green holly and ivy, and the mystic misletoe are twined into garlands for his hoary brows; and the monster plum-pudding, and the smoking sirloin, are prepared as a jovial sacrifice to the spirit of Old Christmas. School-despising youngsters anticipate their annual visit to the theatres, and indulgent papas and mamas are engaged to convey "the lot" to every one of the houses in succession. But the long-established fun of pantomime has begun to wax feeble on our boards, and neither the glorious practical jokes of the Clown, the activity of Harlequin, nor the grace of Columbine can afford the same amusement that our fathers and grandfathers derived from them. Children have now become so prematurely intelligent that they scarcely laugh when the Clown thrusts the contents of a poulterers', a fishmonger's, and a fruit-woman's baskets higgledy-piggledy into that mysterious receptacle, which serves him for a breeches pocket; they have no faith in Harlequin being shot out of a cannon, and stuck like a painted picture of himself over an apothecary's door, nor can the policeman who is drawn out to the length of eight or ten policemen create in them the uproarious mirth he was wont to do. The transformation of a pawnbroker's shop into the National Gallery, or of a potatocan into a steam-engine, have ceased to surprise them as it did the youthful generation of a quarter of a century back. The world has, in fact, outgrown pantomime, and though the monarch of the wooden sword still maintains his sway at some of the minor houses, and finds many faithful subjects amongst that portion of the world who love to laugh, without caring to analyse too curiously the "cause why," people generally seek for something beyond mere practical fun at a theatre. They have a craving for a dash of the intellectual with the humorous. Burlesque has, therefore, revolutionised the dominions of pantomime; the tongue again asserts its superiority over the heels in some of our Christmas entertainments; and even at those

theatres where Old Pantomime still keeps his court, the introductory portion of the piece, in which the characters speak in doggrel rhymes, has frequently more care and expense bestowed upon it than the harlequinade. However, that our readers may be enabled to form a correct idea of the subject and matter of the various entertainments in operation at the different metropolitan theatres, we, according to custom, give a sketch of the plot and circumstances of each Christmas piece.

HAYMARKET.-The entertainment at this theatre is derived from that prolific source of eastern romance, the “ Arabian Nights' Entertainment," wherein is related the controversy between the two genii respecting the beauty of a certain prince and princess. The idea has, however, been greatly modified and elaborated by the Messrs. Brough, who have concocted upon it an extravaganza to be called Camaralzaman and Badoura; or, The Peri who loved the Prince. Maimoune (Mrs. Keely), a peri of aristocratic notions, has so far forgotten her dignity as to fall in love with a mortal, Camaralzaman, Prince of the Isles of Khalidin, and while meditating on her love and its consequences, is interrupted by the approach of Danasch, (Mr. Keely), a djin of mischievous propensities, who has been out for a spree, and being called on by Maimoune to give an account of his business in the imperial palace of China, whence she had lately seen him issue, he tells her that he has been admiring the most beautiful creature in the world, who resided within that palace. Maimoune contends that no mortal beauty can equal that of her Caınaralzaman, and, in order to decide the question she consents to a comparison of the prince and princess, and for that purpose directs Danasch to convey his boasted princess, in her sleep, to the apartment of the prince. The following scene is laid in a splendid eastern saloon, where Camaralzaman (Miss P. Horton), is confined by his father, because he prefers his bachelor independence to the drudgery of the married state. The perusal of a parliamentary debate has the effect of throwing him into a deep slumber, during which the Princess Badoura (Miss Reynolds) is conveyed into the chamber by Danasch. The peri and the djin decide that, the best mode of settling the question of the beauty of their respective portegées will be to awake them alternately, and thus see which is most struck with the other's charms. This is done, but the result has not been anticipated by,the peri, for the prince and princess fall desperately in love with each other. Camaralzaman, spite of his anti-matrimo

nial resolves, and Badoura, spite of her strong notions on the "rights of woman," which had, involved her in a similar resistance to her father's desire to see her married, resolve each to live only for the other. The enraged peri orders Danasch to carry the princess home again, and the scene changes to the gardens of the Emperor of China, Bung (Mr. Bland), the son of Tung, whose father was Hung. The Emperor is lamenting his daughter's refusal to bestow her hand on Jin Sling (Mr. Caulfield), the Crown Prince of Japan, when Badoura rushes in and declares herself perfectly ready to marry, provided her father gives her for a husband the beautiful prince to whom she had betrothed herself that night. The Emperor imagines that the princess is mad, and gives orders to scour his dominions for a physician who can restore her senses. Meanwhile Danasch, indignant at the treatment he has received from Maimoune, calls a public meeting of genii, at which he takes the chair, and several resolutions are passed; the act terminating with a drinking chorus of demons. The second act commences outside the imperial palace of China, the walls of which are ornamented with the heads of the numerous doctors who, in the hope of obtaining the hand of the princess, offered by the Emperor to him who should cure her of her supposed madness, had attempted the cure, and, failing in it had, according to the conditions, lost their heads. The Prince of Japan, anxious to obtain the prize, but not daring to run the risk of playing for the stakes, studies medicine privately, and having prepared a "patent universal pill," manages that the princess shall swallow it in her tea. The mischievous Danasch, in order to thwart the passion that he perceives Maimoune entertains for Camaralzaman, conveys him to the palace of the Emperor of China, as one of the candidates for effecting the cure of the princess, who, being brought into his presence, recognises him, and is instantaneously cured of her melancholy. The Prince of Japan claims the honour of the cure by means of his wonderful pill, and the Emperor, being puzzled to decide between the claims of the rival doctors, proposes an archery match, in which the victor shall obtain the hand of the princess. The trial takes place, but Maimoune, who has striven to conquer her passion for Carmaralzaman, has resolved to frustrate his hopes. To this end she charms the arrow which he shoots, and rendering it invisible to the judges of the match, the Prince of Japan, is proclaimed the victor. Danasch enraged at the result,

quarrels with the Prince of Japan, whom he kills, and immediately vanishes in a column of smoke. The Emperor, shocked at the untimely end of his son-in-law, proclaims Camaralzaman the successful competitor; the prince, however, is nowhere to be found, having gone in search of the charmed arrow, which, ignis fatuis like, leads him from place to place, till it conducts him to the fairy abode of Maimoune, who has made most magnificent preparations for her marriage with the prince; but her hopes are speedily destroyed, for Camaralzaman, though tempted by the display of the peri's immense treasures, declares that he can never wed other than his beloved Badoura. Foiled in her designs, and perhaps ashamed of having condescended to love a mortal, Maimoune determines to show off a little magnanimity, and, yielding to the ardent request of the prince, she produces the Princess Badoura and her father. Finally, the lovers are united by general consent, and Maimoune is induced to accept as a suitor Danasch, on the assurance that he has reformed his former bad habits and "cut" his wild companions. With this fraternisation of the two immortals, and the union of the mortal lovers the piece concludes.

A smart farce, adapted by Mr. Maddison Morton from a French original, and entitled Your Life is in Danger, has been produced at this theatre with complete success. The incidents bear in some measure upon the present revolutionary state of the Continent, and the sudden shifts in political affairs, which make the traitor of to-day the hero of to-morrow, and vice versa. A certain Baron Von der Butchell has been engaged in an abortive attempt at revolution in some part of Germany, and is compelled to conceal himself from the prying eyes of justice. An attachment exists between the young Countess of Lansdorff (Miss Reynolds) and the baron; and the latter, in a letter to the countess, informs her that he has assumed the disguise of an English servant, John Strong (Mr. Keeley), in which costume he purposes seeking concealment in the house of the burgomaster, Schoonenberg (Mr. Tilbury), with whom she is on a visit. Tho burgomaster, it seems, had been in some way compromised by his participation in the plot, for which the baron has been denounced, and trembles lest his own complicity in the crime should be discovered by the arrest of the fugitive. His fears are increased by the watchful jealousy of Krakwitz (Mr. Rogers), who suspects that the burgo