been above prescribed for ceilings are to be followed, except that fewer precautions are necessary, as the weight acts differently; where the work is of a very light character, even common needle-points will be found sufficient, but the cement above mentioned is in all cases an useful addition. With the assistance of the above rules, there is no sort of work in papier-mâché that may not be well fitted up by an ordinary joiner.

rally speaking it would be quite sufficient to use brads, taking their hold on to the laths; this attachment being made still more secure by the use of the cement, which may be made of strong size and whiting mixed to the thickness of treacle. The same mode of fixing is adopted for frets, friezes, and indeed for all kinds of superficial enrichment, care being at all times taken that brads lay well hold of the laths, for which purpose it is generally expedient to drive the brads in at the hollows, and In concluding our notice of papier-mâché, such parts of the work to be fixed; it is also a we beg leave to return thanks to Mr. C. F. useful precaution to drive the brads in a slant- Bielefeld for the obliging manner in which he ing direction, so as to prevent all chance of has furnished us with all the information in their drawing. When walls have to be en- his power. This information, it is hardly riched with panels, as is very usual in apart- necessary to say, is to be relied on, Mr. B. ments fitted up in the old French and Italian being the chief manufacturer of papier-mâché styles, exactly the same rules for fixing as have in this kingdom.

THE Archimedean or endless screw, as applied to the thanks and patronage of all, whether to a chair, represented above, has the effect indisposed or not. The delightful absence of and advantage of enabling the occupier, by all restraint, and the sensation of perfect turning the handle on the elbow, to vary his repose which this admirable and ingenious position from the perpendicular to the hori- contrivance affords, will be felt as a great boon zontal, or any of the intermediate changes, to the community, and we much regret that with the greatest possible facility; having the our limited space will not allow us to do advantage of all other methods to produce the justice to the "Archimedean-Screw Easy reclining position by the power it possesses of Chair" in detail, but we most confidently reraising the legs at the time of reclining the commend it to all, both as a most desirable back, forming in its variations the endless article of furniture for the drawing-room and positions of the human frame, necessary, in indispensable accessory to the enjoyment of particular, to the invalid, as a couch or bed, an afternoon's siesta. The graphic illustration known as Dr. Earle's fracture couch, more which accompanies this brief notice will exparticularly by the medical profession, and plain the principle of the construction perhaps which they are compelled to use in spinal more clearly than could be done by a page of cases, &c., for the comfort and advantage of letter-press without it. The patentee, we are the afflicted under their care. Mr. Minter, the assured, will never have cause to regret the eminent chair manufacturer, and patentee also time and outlay which must have been exof the celebrated "Self-Acting Reclining pended in bringing this paragon of easy chairs Chair," has, by the invention of the chair to its present wonderful state of perfection. bearing the title above given, entitled himself

Second Method.-When the line is near the the Moors never made any previous to comextreme edge of a plane.

Knowing its power and vast unexplored range, refinement Madame Vestris had first presented he felt an earnest desire that scene-painting to the public in her drawing-room scenes, should be fully and properly estimated. elegantly and completely furnished; and he Engraved examples might offer an interesting also mentioned with commendation some intecollection of the most ingenious fancies of the riors produced at the Haymarket, in a similar most eminent artists. spirit. He admired this perfect kind of representation, and was pleased with the manner in which it had been extended to exteriors, garden scenes, &c., and he referred to the garden scene in the "Lady of Lyons," at Sadler's Wells, in which the stage is covered with a painted cloth imitative of gravel walks, grass plots, shrubberies, &c., producing together a very superior effect. In a snow scene in the

was covered with painted canvas very successfully; and in the "Flowers of the Forest," the scene of a village church, with well-worn paths, &c., similarly treated, was equally skilful and pleasing.

Mr. Dwyer commented upon the fits and starts usual to these matters, stating that the better scenes were exceptions, while the imperfect school retained the predominance. As one of the earliest and most perfect illusions ever depicted, he described a scene introduced in the opera of " Acis and Galatea." The last scene in the ballet of "Coralia," at Her Majesty's Theatre, was also fully described, as an eminent example of scenic display.

Perspective, the reader observed, constitutes one of the greatest obstacles to perfection in scenic effects, and he alluded to the defects which ordinarily appear in set-scenes, from their being made up of various parts, placed at intervals along the stage, each part drawn, probably, at a different perspective angle. The peculiar manner of treating perspective for theatrical purposes was explained. While the" Battle of Life," at the Lyceum, the stage situation of spectators varies greatly, the treatment must necessarily be imperfect. It is, therefore, usual to set out scenery with two points of sight, but he preferred, in archi tectural subjects, to have three, and to have them placed near the centre, so as to counteract the effect of opposition in the horizontal features of the wings, whereby the scenes are frequently made to appear hoisted. Scenes showing ground in perspective, are frequently spoiled by the visible junction of the wings and the floor, thus disturbing the illusion of distance attempted by the artist; and he would tint the lower portion of the scene with colour similar to that of the stage. Architectural drop-scenes were frequently objectionable from the same cause, and he maintained that they should never be thus applied, but only as pictures within frames, if applied at all. The effect of linear and aerial perspective was adverted to, and the softening influences of colour in aërial perspective were described as pertaining to the highest order of artistic talent. Scenes of this kind are composed of a number of parts, the flats representing sky and extreme distance, while the middle distance and foreground are broken into perspective forms. Float-lights being placed behind these parts, impart brilliant effects that no colouring can attain to, resembling the sunny spots of a landscape.

The author then noticed the machinery pertaining to theatres, and recommended the use of painted canvas placed on rollers sufficiently lofty so as to dispense with the series of curved, scolloped, and straight fly borders, ordinarily representing sky, &c. He next reviewed the inconsistencies which occur in scenery and properties being of a different period in character and style to that of historical dramas, mentioning a scene in "Lucia de Lammermoor," at the Italian Opera House, Covent Garden. It represents a Norman interior, furnished with one chair of modern French style, and a table of doubtful period, the story of the opera being in 1669. He contended that those adjuncts are important; and Linear perspective required, it was said, that if costume, manners, and customs are very great consideration, and failures in street rendered faithfully, properties should receive architecture, and similar subjects, are often equal attention. The progress in matters of evident to the least initiated observer. The costume from the time of Garrick was noticed, artist, however, has to contend with serious and the properties introduced by John Kemdisadvantages from not being permitted to set ble, Planché, and others, were mentioned with out this class of scenes upon the stage instead encomiums. The increasing taste of actors, of in the painting-room; and the manner in shown in careful dressing and wearing apparel which they are produced ought to be borne in with a bearing in accordance with the period mind when judging of their merits. Street represented, was also favourably commended, architecture offers a peculiar difficulty from as displaying research and accurate study of the actors influencing the scale by their com- their art. Mr. Dwyer drew attention to the parative size; this illustrates the great ab- force with which the variety of colours in surdity of placing a façade of the National dresses may be developed, by having regard to Gallery or other well-known building within the background and to the position of the the area of a theatrical scene, without a proper actors. An acknowledgment was made of the regard to distance. As an instance of a favour- elevated taste and artistic arrangements which able effect, he named a scene in the "School Mr. Macready had frequently shown in groupfor Scheming," at the Haymarket, representings and tableaux, and he concluded with the ing portions of streets abutting on the quay at Boulogne, which he considered far removed from a common-place effect, and that it also testified what might be obtained by placing scenery obliquely.

Mr. Dwyer next alluded to the taste and

expression of a desire to find a proper feeling more generally established between the artists, actors, and managers, so that the capabilities of combined talents might produce results at once gratifying, elevating, and promotive of the welfare of the arts.