CRO55 See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

SECTION THRO A B  . F1c . 6.-See also:

• PLAN
• PLAN (from Lat. planes, flat)

Plan and See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

Section of Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

Stage . drenchers above See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire-resisting curtains and tc so arrange the working of the See also:

• CURTAIN

curtain that it can be lowered from four points, i.e. from both sides of the stage, from the prompt See also:

• SIDE
• SIDE (mod. Eski Adalia)

side flies and from the stage See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door . According to the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• CHAMBERLAIN (0. Fr. chamberlain, chamberlenc, Mod. Fr. chambellan, from O. H. Ger. Chamarling, Chamarlinc, whence also the Med. Lat. cambellanus, camerlingus, camerlengus; Ital. camerlingo; Span. camerlengo, compounded of 0. H. Ger. Chamara, Kamara [Lat.
• CHAMBERLAIN, JOSEPH (1836— )
• CHAMBERLAIN, JOSHUA LAWRENCE (1828– )
• CHAMBERLAIN, SIR NEVILLE BOWLES (1820-1902)

Chamberlain's rules, fire resisting curtains must be lowered once during a performance . This is a See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise measure for testing the efficiency of the appliances . Au-mom-rms.—See also:

• MODERN

Modern See also:

• OPERA (Italian for " work ")

Opera Houses and Theatres, 3 vols. See also:

• GRAND

grand See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio, by See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin O . See also:

• SACHS, HANS (1494-1576)
• SACHS, JULIUS VON (1832-1897)
• SACHS, MICHAEL (1808–1864)

Sachs (1896-99) ; Stage Construction, 1 vol. grand folio, by Edwin O . Sachs (1896) ; " See also:

• ENGINEERING

Engineering ": Articles on Stage Mechanism, by Edwin O . Sachs (1895-97) ; Fires and Public Entertainments, 1 vol. See also:

• QUARTO

quarto, by Edwin O . Sachs (1897); Le See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre, 1 vol. See also:

• NET

net., by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Gamier (1871); See also:

• LES

Les Theatres The following is a detailed description of the Covent Garden See also:

• INSTALLATION

installation . The stage may be described as consisting of a See also:

• SERIES (a Latin word from serere, to join)

series of six See also:

• HORIZONTAL

horizontal sections See also:

• RUNNING

running parallel with the curtain See also:

• LINE

line from front to back, each section being 8 ft. wide, and the whole being followed by a large back or See also:

• REAR

rear stage .

The first section contains nothing but a See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain " See also:

• CARPET

carpet cut," and openings to take the old-fashioned " See also:

• GRAVE

grave " See also:

• TRAP (0. Eng. treppe or traepee, properly a step, as that or which an animal places its foot and is caught, cf. Ger. Treppe flight of stairs)

trap, " See also:

• STAR

star " trap, or other similar contrivances . The second and third sections comprise large See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

bridges, which can be raised 6 ft. above the stage or lowered 8 ft. below the stage, constructed in two levels, on the See also:

• LOWER

lower level of which appliances can be installed for the purpose of raising See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor platforms above stage level or sinking traps and the like . The See also:

• FOURTH

fourth, fifth and See also:

• SIXTH

sixth sections comprise large bridges running right across the stage front, which can be raised 9 ft. above the stage or lowered 8 ft. below it . The back stage has no openings or mechanism beyond certain trap-doors to a scenery See also:

• STORE (from O. Fr. estor or estoire, Late Lat. staurum or instaurum, stock, provisions, supply, from the late use of instaurare, to provide, properly to construct, renew, restore)

store, and the necessary See also:

• ELECTRICAL
• ELECTRICAL (or ELECTROSTATIC) MACHINE

electrical mechanism for raising and lowering scenery for storage purposes . Between the various sections of the stage, See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• LONGITUDINAL

longitudinal flaps, 2 ft. wide, have been formed, which can be easily opened to allow scenery to be passed through below for transformation scenes and the like . Each section is equipped with what is termed a pair of chariots, to hold " wing " See also:

• LIGHTS, CEREMONIAL USE OF

lights placed on so-called wing ladders . All the electrical bridges are worked from the " See also:

• MEZZANINE (It. mezzano; Fr. entresol; Ger. Zwischengeschoss)

mezzanine " level and from See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary switch-boards, and can be raised and lowered at various speeds, and take loads up to 2 tons . They can be moved without vibration or See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise at a cost of about id. for See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power on a full rise when loaded . Above the stage level each section has its series of lines to take cloths, See also:

• BORDERS, THE

borders, &c . Each section has a See also:

• BATTEN
• BATTEN, SIR WILLIAM (floruit 1626-1667)

batten, from which the electric battens are suspended, and has also a large wooden lattice girder, from which heavy pieces of scenery can be hung . There are, on the See also:

• AVERAGE

average, about ten lines for ordinary battens, a girder batten, and a See also:

• LIGHT

light batten to each section; besides these lines, heavy and require See also:

• COUNTER

counter-weighting to a nicety, but if well made there are the equipments of flying apparatus and the like, whilst I and fitted may be deemed satisfactory . It is advisable to See also:

• FIT

fit in front there are, of course, the necessary lines for tableaux curtains, See also:

• ACT (Lat. actus, actum)

act-drops and draperies .

Everything that is suspended from above can be worked at stage level or at either of the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery levels, every See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene being counter-weighted to a nicety, so that one See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man can easily handle it . No See also:

• MECHANICAL

mechanical contrivance is required, and in practice quite a number of scenes can be rapidly changed in a very See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . Throughout the structure and mechanism See also:

• STEEL, FLORA ANNIE (1847– )

steel has been used, with See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron pulleys and See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire See also:

• CABLE (from Late Lat. capulum, a halter, from capere, to take hold of)
• CABLE, GEORGE WASHINGTON (1844– )

cable; and the inflammable materials have been absolutely reduced to the flooring of the gridiron and galleries and the hardwood flooring of the stage and mezzanine . In other words, an See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute minimum of inflammable material replaces what was almost a maximum; and seeing Aneiais, by Georges See also:

• BOURDON, FRANCOIS LOUIS (d. 1797)

Bourdon (1902); See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Theater, Wien, 2 vols . Quarto, by Josef Bayer (1894) . (E . O . S.) "SPECTACLE" The See also:

• APPEAL

appeal to the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye has been the essential feature of dramatic See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production in its many stages of development from the earliest times of the See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

miracle plays and " moralities," See also:

• MUMMERS

mummers and See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

morris-dancers, down through the centuries, in the See also:

• FORM (Lat. forma)

form of masques and ballets, to the luxuriance of scenic and See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume display that is lavished on the latest forms of theatrical entertainment . Considering the enormous advance that has been made in mechanical appliances, more especially in the increased See also:

• POWERS, HIRAM (1805-1873)

powers of See also:

• ILLUMINATION

illumination supplied by See also:

• GAS

gas and See also:

• ELECTRICITY

electricity' as compared with oil and candles, we must acknowledge that the See also:

• ARTISTIC

artistic achievement of spectacle has hardly kept See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

pace with the times . If we may See also:

• CREDIT (Lat. credere, to believe)

credit the veracity of contemporary chroniclers, the most elaborate effects and illusions were successfully at-tempted in the various courtly entertainments that are recorded under the Tudor and See also:

• STUART, ARABELLA (1575-1615)
• STUART, GILBERT (1755-x828)
• STUART, JAMES EWELL BROWN (1833-1864)
• STUART, JOHN
• STUART, MOSES (1780-1852)
• STUART, SIR JOHN, COUNT

Stuart dynasties, and found perhaps their most sumptuous expression in the courts of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis X1V. and Louis XV . It would be a difficult task for the most experienced of modern stage managers to See also:

• RIVAL

rival the splendours of See also:

• APPAREL (from O. Fr. aparail, aparailler, mod. appareil, from Low Lat. adpariculare, to make fit. or equal)

apparel and the ingenious devices that were exploited in increasing magnificence during successive periods, as described by See also:

• FROISSART, JEAN (1338-1410?)

Froissart, See also:

• HOLINSHED (or HOLLINGSIIEAD), RAPHAEL (d. c. 158o)

Holinshed, See also:

• CAVENDISH
• CAVENDISH, GEORGE (1500-1562?)
• CAVENDISH, HENRY (1731-1810)
• CAVENDISH, SIR WILLIAM (c. 1505-1557)

Cavendish, See also:

• STOW, JOHN (c. 1525-1605)

Stow, See also:

• PEPYS, SAMUEL (1633-1703)

Pepys and other writers . The sums expended on these entertainments were prodigious, and a perusal of the extraordinarily detailed descriptions of such lavishly appointed masques as those designed by Inigo See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones in particular renders credible the statement that a certain masque presented before Charles I. at the Inns of See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court in 1633 cost 121,000 .

Spectacle in its earlier phases appears to have existed chietiy in connexion with court and civic ceremonial: as evidenced in the wonderful pageantry of the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

Field of the See also:

• CLOTH

Cloth of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

Gold; in such princely entertainment as the See also:

• REVELS, MASTER OF THE

Revels at See also:

• KENILWORTH

Kenilworth, when the See also:

• EARL

Earl of See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester welcomed See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth in a series of splendid fetes; and in the more accomplished imaginings of See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson, decorated by Inigo Jones, such as the Inns of Court masque, already cited . The scenic effects and illusions which had evidently been brought to See also:

• GREAT

great perfection in these masques were not devoted to the service of the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama in the public theatres until See also:

• DAVENANT (or D'AVENANT), SIR WILLIAM (1606-1668)
• DAVENANT, CHARLES (1656-1714)

Davenant introduced them at the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of the Restoration, although See also:

• SIMPLE

simple scenery, probably See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere background " cloths," had been seen on the stage as See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1605 . The built-up stage pictures, See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to us as " set-scenes," are said to owe their origin to See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James de Loutherbourg . R.A., and to have been first used in 1777; but it is difficult to believe that some such elaborate constructions had not already enjoyed a See also:

• TERM

term of popularity in view of the contemporary paintings and engravings of the See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch of Louis XIV., who was himself not averse from appearing (in 16J3) as " Le Roi Soleil " in the midst of an entourage combining much that was artistic and fanciful with the most pompous and most absurd incongruities of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and costume . A greater measure of elegance and refinement distinguished the See also:

• SPECTACLES

spectacles of the reign of Louis XV., inspired by the delicate ' The See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy Theatre, See also:

• LONDON

London, was first entirely lighted by electricity in 1882 . The various methods of See also:

• LIGHTING

lighting used have been an important See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

item in the production of striking effects . The old See also:

• SYSTEM

system of a See also:

• ROW, JOHN (c. 1525—1580)

row of " See also:

• FOOT

foot-lights, " with their unpleasant upward See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow, is now almost obsolete . See also:

• DIP (Old Eng. dyppan, connected with the common Teutonic root seen in " deep ")

Dip candles were used till 1720, when moulded candles were introduced into See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French theatres . The next improvement was the See also:

• LAMP (from Gr. Xag ras, a torch, Xaµaav, to shine)

lamp of M . Argand, with its circular See also:

• WICK

wick . In 1822 gas was first used in a Parisian theatre, next came the oxyhydrogen See also:

• LIME
• LIME (O. Eng. lim, Lat. limes, mud, from linere, to smear)

lime-light, used for See also:

• SPECIAL

special effects, and then electric lighting . The old way of producing See also:

• LIGHTNING

lightning was to See also:

• BLOW, JOHN (1648-1708)

blow See also:

• LYCOPODIUM

lycopodium or powdered See also:

• RESIN (through O.Fr. resine, modern reline, from Lat. resina, prcbably Latinized from Greek Pirivrt, resin)

resin with See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows through a See also:

• FLAME (Lat. flamma; the root flag- appears in flagrare, to burn, blaze, and Gr. d, XEryew)

flame, and this is still used in realistic effects of conflagrations .

More effective lightning is now made by flashing the electric light behind a scene painted with clouds, in which a zigzag See also:

• APERTURE (from Lat. aperire, to open)

aperture has been cut out and filled with a transparent substance . See also:

• THUNDER

Thunder is made by shaking large sheets of iron . See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

Wind is imitated by a See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine with a cogged See also:

• CYLINDER (Gr. KvAwSpos, from KvXivaety, to roll)

cylinder, which revolves against coarse cloth tightly stretched. he See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound of See also:

• RAIN (O.E. regn; the word is common to Teutonic languages, cf. Ger. Regen, Swed. and Dan. regn; it has been connected with Lat. rigare, to wet, Gr. 13pixeav)

rain is produced by shaking parched peas in a See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal cylinder.See also:

• ART

art of See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau, See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher and See also:

• LANCRET, NICOLAS (1660-1743)

Lancret, and preserved for our delectation in their delightful canvases . Under the French Revolution the spectacular See also:

• BALLET

ballet lost much of . its See also:

• PRESTIGE

prestige; and its decorative features were for a time principally associated with the fetes inaugurated by the See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic, and presented in the classic costume, which the severity of the new regime adopted as a reaction, or as a protest against the frivolities and furbelows of the obliterated See also:

• MONARCHY (Fr. monarchic, from Lat. monarchia, Gr. uovapXia, rule of one, µbvos, alone, apXi7, rule)

monarchy . The Festival of the Supreme Being, decreed by the See also:

• NATIONAL

National See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

Convention, designed by See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David and conducted by See also:

• ROBESPIERRE, MAXIMILIEN FRANCOIS MARIE ISIDORE DE (175$-1794)

Robespierre, was perhaps the most impressive spectacle of the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . The rgth century saw spectacle devoted almost exclusively to theatrical entertainment . In London, See also:

• MELODRAMA (a coined word from Gr. µEXos, music, and Spaµa, action)

melodrama, both of the romantic and domestic description, claimed its illustrative aid . At See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane Theatre (which, with Covent Garden, the Adelphi and See also:

• ASTLEY, JACOB ASTLEY, BARON (1579-1652)
• ASTLEY, SIR JOHN DIIGDALB

Astley's, was first illuminated by gas in 1817—18) the See also:

• CATARACT (from the Lat. form cataracta of the Gr. Karapplucrgss, a floodgate, or waterfall, properly something which rushes down)

Cataract of the See also:

• GANGES (GANGA)

Ganges, with its cascade of real See also:

• WATER

water and its prancing steeds, made a great sensation in 1823, and the same stage in 1842, under See also:

• MACREADY, WILLIAM CHARLES (1793—1873)

Macready's management, displayed the " moving See also:

• WAVE

wave " effect in the Sicilian views, painted by See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• CLARKSON, THOMAS (176o-1846)

Clarkson See also:

• STANFIELD, WILLIAM CLARKSON (1794–1867)

Stanfield for See also:

• ACIS

Acis and Galatea . The See also:

• LYCEUM

Lyceum Theatre from 1847 to 1855 introduced a long series of elegant extravaganzas from the See also:

• PEN (Lat. penna, a feather, pen)

pen of J . R . See also:

• PLANCHE, JEAN BAPTISTE GUSTAVE (1808–1857)

Planche, elaborately illustrated by the scenery of William See also:

• BEVERLY

Beverly . The See also:

• GOLDEN

Golden See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

Branch, the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King of the Peacocks and the See also:

• ISLAND (O.E. ieg =isle, +land')

Island of Jewels (See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas 1849) were the most remarkable of these productions, and were noteworthy as originating the fantastic See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

fairy pictures that became known as " transformation scenes," and were copied and popularized in all directions .

Beverly's skilful See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush was at a later date employed at Drury Lane to enhance the attractions of a See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of spectacular versions of See also:

• SIR

Sir See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott's novels, Amy See also:

• ROBSART

Robsart (1870), Rob See also:

• ROY, WILLIAM (1726-1790)

Roy (with a beautiful See also:

• PANORAMA (Gr. -rap, all, and opa,ua, view)

panorama of the See also:

• TROSSACHS, THE (Gaelic, " the bristled country," a crude allusion to its physical features)

Trossachs scenery), Rebecca, See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in the Days of Charles II., and others . Later still, under the regime of Sir See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus See also:

• HARRIS, GEORGE, 1ST BARON (1746–1829)
• HARRIS, JAMES (1709-1780)
• HARRIS, JOEL CHANDLER (1848-1908)
• HARRIS, JOHN (c. 1666-1719)
• HARRIS, SIR WILLIAM SNOW
• HARRIS, THOMAS LAKE (1823-1906)
• HARRIS, WILLIAM TORREY (1835-1909)

Harris and his successors, spectacle at Drury Lane assumed even more costly proportions, and modern melodramas, representing well-known localities with extra-ordinary fidelity and all kinds of disasters from earthquakes to avalanches, have been alternated with sumptuously mounted pantomimes (so-called), in which the nominal fairy-tales were almost smothered by the See also:

• PARAPHERNALIA (Lat. paraphernalia, sc. bona, from Gr. aapaq5epva; impel, beside, and (*vii, dower)

paraphernalia of scenery and costume . It is remarkable that, for a " run " of ten See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks only, such a sum as £16,000 each can have been profitably expended on more than one of these productions . London playgoers will recall the processional glories of A See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream of See also:

• FAIR

Fair See also:

• WOMEN

Women, designed by See also:

• ALFRED

Alfred See also:

• THOMPSON
• THOMPSON, FRANCIS (1860-1907)
• THOMPSON, LAUNT (1833-1894)
• THOMPSON, SIR HENRY, BART
• THOMPSON, SIR JOHN SPARROW (1844-1894)
• THOMPSON, THOMAS PERONNET (1783-1869)
• THOMPSON, WILLIAM HEPWORTH (18ro–1886)

Thompson; The See also:

• LAND

Land of Fairy Tales, by See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy See also:

• ANDERSON
• ANDERSON, ADAM (1692—1765)
• ANDERSON, ALEXANDER (c. 1582-1620?)
• ANDERSON, ELIZABETH GARRETT (1836— )
• ANDERSON, JAMES (1662—1728)
• ANDERSON, JAMES (1739-1808)
• ANDERSON, JOHN (1726-1796)
• ANDERSON, MARY (1859– )
• ANDERSON, RICHARD HENRY (1821–1879)
• ANDERSON, ROBERT (1750–1830)
• ANDERSON, SIR EDMUND (1530-1605)

Anderson; and The See also:

• SILVER

Silver See also:

• WEDDING

Wedding (Puss in Boots), The See also:

• PARADISE (Gr. lrap6BEwos)

Paradise of the Birds (Babes in the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood), and The Gods and Goddesses of See also:

• OLYMPUS

Olympus (See also:

• JACK

Jack and the Beanstalk), for which Mr Wil helm was responsible . The See also:

• ARMADA, THE

Armada, a See also:

• HISTORICAL

historical drama (1888), also deserves to be remembered for the completeness and excellence of its spectacular features . In addition to the names of Clarkson Stanfield and Beverly, already cited as masters of scenic art, it must not be forgotten that the skill of David See also:

• ROBERTS, DAVID (1796-1864)
• ROBERTS, FREDERICK SLEIGH ROBERTS, EARL

Roberts was also devoted to the embellishment of the stage; and the names of Grieve, the Telbins (See also:

• FATHER

father and son), See also:

• HAWES, STEPHEN (fl. 1502-1521)
• HAWES, WILLIAM (1785–1846)

Hawes See also:

• CRAVEN, PAULINE MARIE ARMANDE AGLAE (18o8—189r)
• CRAVEN, WILLIAM CRAVEN, EARL

Craven, and J . Harker have in successive years carried on the best traditions of the art . Alfred Thompson was one of the first to revise the conventionalities of fanciful stage costume, and to impart a French lightness of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and delicacy of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . A ballet, See also:

• YOLANDE [or ISABELLA] OF BRIENNE (1212-1228)

Yolande, which he dressed for the See also:

• ALHAMBRA, THE

Alhambra in the 'sixties, was the first See also:

• JAPANESE

Japanese spectacle to See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace the See also:

• ENGLISH

English stage; arid he was also mainly responsible for the attractions of Babil and Bijou, which cost upwards of £11,000 at Covent Garden Theatre in 1872, and was at the time considered to have surpassed all former spectacular accomplishments . It achieved, however, merely a succes d'estime, and has bequeathed to a later See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation only the recollections of its " See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring " See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of boys, and of the brilliant danseuse, Henriette d'Or, who revived memories of the great days of the ballet, when See also:

• TAGLIONI, MARIA (1804-1884)

Taglioni, Cerito, See also:

• ELSSLER, FANNY (1810-1884)

Elssler, Duvernay and other " Deesses de la Danse," appeared under Lumley's management at the old Her See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty's Theatre in the Haymarket . Since the memorable tenancy of See also:

• SADLER (or SADLEIR), SIR RALPH (1507-1587)
• SADLER, MICHAEL THOMAS (1780-1835)

Sadler's See also:

• WELLS
• WELLS, CHARLES JEREMIAH (1798?–1879)
• WELLS, DAVID AMES (1828—1898)
• WELLS, HERBERT GEORGE (1866— )
• WELLS, SIR THOMAS SPENCER, 1ST BART

Wells Theatre by See also:

• PHELPS, AUSTIN (182o-1890)
• PHELPS, EDWARD JOHN (1822-I900)
• PHELPS, SAMUEL (1804-1878)

Phelps (1844—62), See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and spectacle have been honourably associated . Charles See also:

• KEAN, EDMUND (1787–1833)

Kean's revivals at the Princess's Theatre (1850—59) deservedly attracted considerable See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention for the splendour and accuracy of their See also:

• ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

archaeology .

See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron's See also:

• SARDANAPALUS, or SARDANAPALLUS

Sardanapalus was also a See also:

• TRIUMPH (triumphus)

triumph for the same management in 1853; and the same theatre three deca-les later witnessed the production (See also:

• DECEMBER (Lat. decent, ten)

December 1883) by See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson See also:

• BARRETT, LAWRENCE (1838-1891)
• BARRETT, LUCAS (1837-1862)

Barrett of Claudian, a romantic poetic drama of classic days, mounted so exquisitely as to gain See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin's enthusiastic praise But undoubtedly the earliest noteworthy See also:

• ALLIANCE

alliance of spectacle with Shakespeare was made by Sir See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• IRVING, EDWARD (1792-1834)
• IRVING, SIR HENRY (1838-1905)
• IRVING, WASHINGTON (1783-18J9)

Irving at the Lyceum . The art of Royal Academicians was happily enlisted to add lustre and distinction to his productions . . Ravenswood and the sumptuously presented Henry VIII . (1892) owed much to the co-operation of Mr See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

Seymour See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas . Sir See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence See also:

• ALMA

Alma-Tadema supervised Cymbeline and See also:

• CORIOLANUS, GAIUS (or GNAEUS)14IARCIUS

Coriolanus (1901), whilst Sir See also:

• EDWARD

Edward Burne-Jones inspired the decoration of King See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur (1895) . In See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

Cup (produced in See also:

• JANUARY

January 1881) and in the beautiful revival of Romeo and Juliet it was See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt that perfection of stage illusion could scarcely go farther, but the next production, Much See also:

• ADO (d. 874)

Ado about Nothing, with its superb See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church scene by Telbin, was admittedly Irving's crowning success, alike from the artistic, the dramatic, the spectacular and the See also:

• FINANCIAL

financial standpoints . Great praise was equally won by the version of See also:

• FAUST, or FAUSTUS

Faust, which was frankly spectacular, and by the more See also:

• RECENT

recent Robespierre by See also:

• SARDOU, VICTORIEN (1831-1908)

Sardou . Shakespeare and the poetic drama were also finely illustrated by Mr Beerbohm See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

Tree, who secured Sir Lawrence Alma-Tadema's See also:

• INTEREST

interest for See also:

• HYPATIA ('Tiraria) (c. A.D. 370–415)

Hypatia at the Haymarket, and See also:

• JULIUS

Julius See also:

• CAESAR, GAIUS JULIUS (102—44 B.c.)
• CAESAR, SIR JULIUS (1557-1558-1636)

Caesar at the new His Majesty's; whilst for his later productions, King See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John, A Midsummer See also:

• NIGHT

Night's Dream, See also:

• HEROD
• HEROD (surnamed THE GREAT)

Herod (by See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen See also:

• PHILLIPS
• PHILLIPS, ADELAIDE (1833-1882)
• PHILLIPS, EDWARD (163o-1696)
• PHILLIPS, JOHN (1800—1874)
• PHILLIPS, SAMUEL (1814—1854)
• PHILLIPS, STEPHEN (1868– )
• PHILLIPS, THOMAS (1770-1845)
• PHILLIPS, WENDELL (1811-1884)

Phillips), Twelfth Night (1901), and such later plays as his revival of Antony and See also:

• CLEOPATRA

Cleopatra (1907), he was assisted by the designs of Percy Anderson, an artist who made his See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark in the costumes for a series of the operas at the Savoy Theatre, notably the 15th-century dresses for the Beauty See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

Stone . Spectacular features of exceptional refinement distinguished the See also:

• PANTOMIME

pantomime of See also:

• CINDERELLA (i.e. little cinder girl)

Cinderella, presented by Mr Oscar Barrett at the Lyceum Theatre in Christmas 1893, and designed by Mr Wilhelm . This production also enjoyed a prosperous See also:

• SEASON (0. Fr. seson, seison, mod. saison, Lat. satio, sowing time, the spring, from serere, to sow; in Late Lat. the word is found with its present meaning, the spring being considered as particularly the season of the year)

season in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York . The system of See also:

• INTERNATIONAL, THE

international See also:

• EXCHANGE

exchange seems to hold See also:

• GOOD, JOHN MASON (1764-1827)

good in stage spectacle as in other cases, and in return for English successes that have been welcomed in See also:

• AMERICA

America, Augustin See also:

• DALY, AUGUSTIN (1838-1899)

Daly's Shakespearean productions were greatly admired in London . Other entertainments of a more absolutely spectacular See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order found See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance in London .

In connexion with See also:

• BARNUM, PHINEAS TAYLOR (1810-1891)

Barnum and See also:

• BAILEY (said to be a corruption of Ballium by some, and derived by others from the Fr. baille, a corruption of bataille, because there the soldiers were drilled in battle array)
• BAILEY, NATHAN
• BAILEY, PHILIP JAMES (1816-1902)
• BAILEY, SAMUEL (1791-1870)

Bailey's See also:

• HIPPODROME (Gr. irrbSpo,uos, from irros, horse, and Spoµos, racecourse)

Hippodrome, Imre Kiralfy's show, See also:

• NERO (37-68)

Nero, constituted a "See also:

• MAMMOTH
• MAMMOTH (0. Russ. mammot, mod. mamant; the Tatar word mama, earth, from which it is supposed to be derived, is not known to exist)

mammoth See also:

• COMBINATION (Lat. combinare, to combine)

combination," and attracted crowds to " See also:

• OLYMPIA

Olympia " in 1890 . The success of this latter spectacle of colour and See also:

• MOVEMENT

movement, which was also designed by Mr Wilhelm, induced Mr Kiralfy to produce a still more ambitious entertainment the following season, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, designed by the same artist . A spectacle on these lines may be regarded as the outcome of such ballets as have long been popular on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent of See also:

• EUROPE

Europe—especially in See also:

• ITALY
• ITALY (Italia)

Italy, where grace of movement and spontaneity of gesture are natural to the See also:

• PEOPLE

people, and greatly facilitate such an enterprise as the famous Excelsior ballet of AMIanzotti, which lasted a whole evening, in several acts, and required the services of hundreds of figurantes . Excelsior was originally produced at La Scala, See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, in January 1881, and was subsequently given with great success at the See also:

• EDEN
• EDEN, SIR ASHLEY (1831-1887)

Eden Theatre, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, in 1883 . The revived popularity of the modern ballet, as at the See also:

• EMPIRE

Empire Theatre, London, has also been associated with some memorable triumphs of spectacle with which the name of Mr Wilhelm was closely identified as designer . (C .