In all the theatres of London, a race is run in the variety and beauty of the decorations. If actors have fallen off, the scene-painter and machinist are in the ascendant. Now, this is far from a good sign, or, in the end, of any good effect in the advancement of the drama. A decent amount of illustration is indispensable--a proper attention to truthfulness of costume is highly commendable; but truly absurd is it to see the length to which this zeal is carried. In the Elizabethan time, the spectator was informed of the scene of the play by a board with the name of the locality suspended from the roof. Side-scenes then crept in; appropriate dresses were introduced at a later period; and now there is not a button wrong, not a single anachronism in the shape of a shoe, or ribbon of a cap; gorgeous landscapes are presented to the eye; noble chambers open their treasures of furniture and vertu; and in the midst of all this internal improvement, the histrionic, art diminishes day by day. "Man is the only plant that dwindles here." Thus we find that almost every manager plumes himself on restoring Shakspeare when he surrounds the play with gorgeous accessories--when the balcony scene is painted by Stanfield, or the hall of Macbeth's castle by David Roberts. This is the mode of decoration adopted by the warriors of old, when they covered the Roman traitress with their ornaments of silver and gold. This is to smother Shakspeare, not to illustrate him. This is to bury Cæsar, not to praise him. Let us assure those enterprising caterers for the public, that a play well acted is worth all the correct dresses, and all the befitting scenery in the world. Half the money wasted on these expensive accessories would tempt men of talent and education once more to look to the stage as a profession. Rather give us Burbage as Coriolanus in Sir Philip Sidney's clothes, than a modern declaimer in the most faultless of togas. But when scenery, dresses, and decorations, from being the casual accompaniments of a noble tragedy, which they only encumber with their help, form of themselves the staple commodity with which an appeal is made to the favour of the town, the matter becomes of very serious importance, and is probably more injurious to the dramatic taste than anything that can be named. Nothing has so depreciated the drama as the frequency, during late years, of burlesques--a contemptible species of entertainment, where parody is substituted for wit, and glitter and show for interest or language. A fairy tale, that enchanted our childhood, is chosen for a theme, and soon stript, by the ruthless playwright, of all its poetry and romance. Aladdin makes puns about the Crystal Palace. Camaralzaman and Badoura are witty about the electric telegraph; and all the time their miserable jargon is illustrated by the scenery of men of genius--with landscapes that Poussin would not be ashamed to own, and wing-covered nymphs that would have been the