of the pit, as usual, were full of critics, 'Who, sir' (said the veteran), 'I eyed through the slit of the curtain, and was glad to see there, as I wished in such a cause to be tried by a special jury. When I made my appearance in the greenroom, dressed for the part, with my red hat on my head, my piqued beard, loose black gown, etc., and with a confidence which I never before assumed, the performers all stared at one another, and evidently with a stare of disappointment. Well, sir, hitherto all was right-till the last bell rung- then, I confess, my heart began to beat a little: however, I mustered up all the courage I could, and, recommending my cause to Providence, threw myself boldly on the stage, and was received by one of the loudest thunders of applause I ever before experienced.

"The opening scenes being rather tame and level, I could not expect much applause; but I found myself well listened to-I could hear distinctly in the pit the words, "Very well — very well, indeed. This man seems to know what he is about," etc., etc. These encomiums warmed me, but did not overset me. I knew where I should have the pull, which was in the third act, and reserved myself accordingly. At this period I threw out all my fire, and as the contrasted passions of joy for the merchant's losses and grief for the elopement of Jessica open a fine field for an actor's powers, I had the good fortune to please beyond my warmest expectations. The whole house was in an uproar of applause, and I was obliged to pause between the speeches to give it vent, so as to be heard. When I went behind the scenes after this act, the Manager met me and complimented me very highly on my performance, and significantly added: "Macklin, you was right at last." My brethren in the greenroom joined in his eulogium, but with different views. He was thinking of the increase of his treasury, they only for saving appearances, wishing at the same time that I had broke my neck in the attempt. The trial scene wound up the fulness of my reputation; here I was well listened to, and here I made such a silent yet forcible impression on my audience that I retired from this great attempt most perfectly satisfied. "On my return to the greenroom, after the play was over, it was crowded with nobility and critics, who all complimented me in the warmest and most unbounded manner, and the situation I felt myself in, I must confess, was one of the most flattering and intoxicating of my whole life. No money. - no title could purchase what I felt. And let no man tell me after this what fame will not inspire a man to do, and how far the attainment of it will not remunerate his greatest labours. By G-d, sir, although I was not worth fifty pounds in the world at that time, yet, let me tell you, I was Charles the Great for that night.

A few days afterwards, Macklin received an invitation from Lord Bolingbroke to dine with him at Battersea. He attended the rendezvous, and there found Pope, and a select party, who complimented him very highly on the part of Shylock, and questioned him about many little particulars relative to his getting up the play, etc. Pope particularly asked him why he wore a red hat? and he answered, because he had read that Jews in Italy, particularly in Venice, wore hats of that colour. 'And pray, Mr. Macklin,' said Pope, 'do players in general take such pains?''I do not know, sir, that they do; but as I had staked my reputation on the character, I was determined to spare no trouble in getting at the best information.' Pope nodded, and said, 'It was very laudable.'

Macklin took this play for his benefit on the 19th night, and had an overflowing audience. Several noblemen of the first distinction took what is commonly called gold tickets; and Lord Bolingbroke made him a present of twenty guineas.

"The play had a successful run through the whole of the season, and for many seasons afterwards: it established his reputation as an actor, and not a little added to his discernment as a critic, in reviving a piece which, perhaps, except for his research, might have been lost to the stage forever." COOKE'S LIFE OF MACKLIN.

COSTUME FOR THE MERCHANT OF VENICE.

The dresses suitable to be worn in representing "The Merchant of Venice are Venetian, of the time of Shakespeare. The garments of the Duke of Venice, in the 16th century, according to Cæsar Vecellio, were usually composed of cloth of silver, cloth of gold, and crimson velvet. The cap, robe and mantle were of the same colour. On days sacred to the Holy Virgin, the Duke appeared in white. "He hath his head covered with a thin coif," says an old writer, "and on his forehead he wears a crimson kind of mitre, with a gold border, and, behind, it turns up in form of a horn; on his shoulders he carries ermine skins, to the middle; on his feet he wears embroidered sandals, tied with gold buttons, and about his middle a most rich belt, embroidered with costly jewels." Vecellio says that the Duke wore, not sandals, but slippers. The three chiefs of the Council of Ten wore red gowns, with long sleeves, either of cloth, camlet, or damask, according to the weather, with a flap of the same colour over their left shoulders; also red stockings and slippers. The rest of the Ten wore black camlet gowns, with long sleeves. The young nobles in general wore gowns of black cloth, faced with black

taffeta. Little black caps of felt were worn, without brims. The doublet -cut to fit closely to the body-was made of rich black taffeta, or satin, and trimmed with costly lace. The Knights of St. Mark wore red apparel under their black gowns. "Young lovers," says Vecellio, wear generally a doublet and breeches of satin, tabby, or other silk, cut or slashed in the form of crosses or stars, through which slashes is seen the lining, of coloured taffeta; gold buttons, a lace ruff, a bonnet of rich velvet or silk, with an ornamental band, a silk cloak, and silk stockings, Spanish morocco shoes, a flower in one hand, and their gloves and handkerchief in the other." This habit was commonly worn by young noblemen, previous to the time- in their eighteenth or twentieth year - when they put on the gown with sleeves, called "a comito." In the costume of the ladies of Venice, a distinguishing peculiarity was the veil, which was worn very long. Wives and widows wore black veils, and this custom was imitated by courtezans. Wives, however, also wore white veils, edged with lace. Maids wore thin silk veils, either white or yellowish. The veils of the Jewish women were yellow, but in other respects their costume was not exceptional. All Italian women, in this period, wore train dresses, of satin, silk, or other material, with high, pointed corsage, ruff, long puffed sleeves, and embroidered stomacher. The dress of a Doctor of Laws consisted of an upper-robe of black damask cloth, velvet, or silk, an under-robe of black silk, with a silk sash,- the ends of the sash hanging down to the middle of the leg,- stockings of black cloth or velvet, and a cap of velvet or silk. The Jews, according to Vecellio, wore dresses identical with those of the Venetians, but were distinguished by the yellow bonnet or cap - the badge of suffrance - which they were by law enjoined to carry as a mark of their disgraced condition. It is not known that the "Jewish gaberdine" differed from the Venetian gown. Strict accuracy in dressing this playas in some other pieces - might lead to comical results. A tasteful license in these matters is not only allowable but necessary.

NEW-YORK, November 1st, 1878.

W. W.