No department of ancient art is more interesting, or indeed more necessary to the student, than that relating to theatres and other aids to the practical illustration of dramatic art. No characteristic of modern continental life, is so striking to the traveller as the earnestness with which the opera is discussed by all classes, and its powerful influence upon social life in nearly every relation. But even the earnest attention which is directed at the present day in Naples or Vienna to some new incarnation of the all governing spirit of amusement, is nothing when compared with the same as it existed among the ancients, to whom it was literally _life_. '_Panem et circenses_'--bread and the public games--with these the Roman citizen of the later empire, like the modern lazzarone, with his maccaroni and San Carlino, could dream away life and be happy. Mindful of the importance of this branch of ancient art in its manifold relations, FRIED. WIESELER has recently set forth a book,[13] declared by competent authority to be the best in the world on this subject. He has chosen judiciously from the immense mass of material extant; and according to the prescribed limits conveyed all the information possible. "The first part of the work embraces a series of well executed plans and outlines of ancient theatres, of different countries and ages, with every requisite detail, followed by engravings and descriptions of every particular pertaining to the representation of plays. This is succeeded by an admirable collection of masks, scenes, figures and costumes, illustrative not only of the ancient drama, but also of its subdivisions of comedy, tragedy, the satyr-drama and the Italian phylace, with singing and music. The illustrations are admirably accurate--more particularly the colored plates of the Cyrenæan wall paintings, and the mosaics of the Vatican, by which the rare and costly work of MILLI is rendered unnecessary." More than one eminent German authority speaks in terms of high praise, of the accuracy and unwearied erudition which characterize the accompanying test. * * * * * The second and third parts of the _Holzschnitte Derühmter Meister_, or woodcuts of celebrated masters, have made their appearance, containing, 1st. smaller woodcuts by Hans Holbein the younger (A. D., 1498-1554), being selections from the Dance of Death, and the Peasants' and Children's Alphabets; 2d. a large engraving after Michael Wohlzemuth (1434-1519), being the Glorification of Christ, and a Madonna and child of Hans Bürkmayer's; also, from the Dutch school, after Dirk de Bray (ob. 1680), a portrait of the artist's father, and the celebrated engraving of Rembrandt's, known as the philosopher with the hour-glass. For the information of artists we mention that these copies are executed with exquisite accuracy, and that the work, though gotten up in every particular in the most elegant manner, is afforded at a very moderate price.