Pantomimic Families--Giuseppe Grimaldi--James Byrne, the Harlequin and Inventor of the modern Harlequin's dress--Joseph Grimaldi, Junior--The Bologna Family--Tom Ellar--The Ridgways--The Bradburys--The Montgomerys--The Paynes--The Marshalls--Charles and Richard Stilt--Richard Flexmore--Tom Gray--The Paulos--Dubois--Arthur and Charles Leclerq--"Jimmy" Barnes--Famous Pantaloons--Miss Farren--Mrs. Siddons--Columbines--Notable Actors in Pantomime CHAPTER XIX. Popular Pantomime subjects--Poor Pantomime Librettos--Pantomime subjects of our progenitors--The various versions of "Aladdin"--"The Babes in the Wood"--"Blue Beard"--"Beauty and the Beast"--"Cinderella"--"Dick Whittington"--"The House that Jack Built"--"Jack the Giant Killer"--"Jack and the Beanstalk"--"Red Riding-Hood"--"The Sleeping Beauty in the Wood"--Unlucky subjects--"Ali Baba and the Forty Thieves"--"The Fair One with Golden Locks"--The source of "Sindbad the Sailor" and "Robinson Crusoe" CHAPTER XX. Pantomime in America CHAPTER XXI. Pantomimes made more attractive--The Restrictive Policy of the Patent Houses--"Mother Goose" and "George Barnwell" at Covent Garden--Lively Audiences--"Jane Shore"--"Harlequin Pat and Harlequin Bat"--"The first speaking opening"--Extravagence in Extravaganzas--The doom of the old form of Pantomime--Its revival in a new form--A piece of pure Pantomime--Present day Mimetic Art--"_L'Enfant Prodigue_"--A retrospect--The old with the new, and conclusion CHAPTER I. Origin of Pantomime. From the beginning of all time there has been implanted in the human breast the Dramatic instinct full of life and of vigour, and finding undoubtedly its outlet, in the early days of civilization, if not in the Dramatic Art then in the poetry of motion with that necessary and always essential concomitant of both--Pantomime. Indeed, of the Terpsichorean Art, it has been truly observed "That deprived of the imitative principle (_i.e._, Pantomime), the strength, the mute expression, it becomes nothing but a series of cadenced steps, interesting merely as a graceful exercise." Equally so in every way does it apply to the Dramatic Art, which minus its acting, its gestures--in a word, its Pantomime--we have nothing but, to quote Hamlet, "Words, words, words." In observing "That all the world's a stage, and the men and women merely players," Shakespeare doubtless included in the generic term "players," Pantomimists as well: Inasmuch as this, that when, and wherever a character is portrayed, or represented, be it in real life or on the stage--"Nature's looking-glass," and the world in miniature--the words that the individual or the character speaks, are accompanied with gesture and motion, or, in other words, Pantomime, when "The action is suited to the word, the word to the action."