The theatre was a more prized and less common indulgence. It is little frequented by the elder Martialists; and not enjoying it themselves, they seldom sacrifice their hours to the enjoyment of their women. But it forms so important an aid to education, and tends so much to keep alive in the public memory impressions which policy will not permit to fade, that both from the State and from the younger portion of the community it receives an encouragement quite sufficient to reward the few who bestow their time and talent upon it. Great buildings, square or oblong in form, the stage placed at one end, the arched boxes or galleries from which the spectators look down thereon rising tier above and behind tier to the further extremity, are constantly filled. There are no actors, and Martial feeling would hardly allow the appearance of women as actresses. But an art, somewhat analogous to, but infinitely surpassing, that displayed in the manipulation of the most skilfully constructed and most complicated magic lanterns, enables the conductors of the theatre to present upon the stage a truly living and moving picture of any scene they desire to exhibit. The figures appear perfectly real, move with perfect freedom, and seem to speak the sounds which, in fact, are given out by a gigantic hidden phonograph, into which the several parts have long ago been carefully spoken by male and female voices, the best suited to each character; and which, by the reversal of its motion, can repeat the original words almost for ever, with the original tone, accent, and expression. The illusion is far more perfect than that obtained by all the resources of stage management and
