new plays or no decay among the many prolific authors who are constantly submitting new dramas. In the present instance the Daily Telegraph says, it is a relief to sit out such a play where there is no straining after effect, and the story is pure and wholesome. The Daily News says, the play is a model of constructive skill. The Morning Advertizer says, that the plot is ingenious, the dialogue crisp, and altogether, it is a powerful and extremely interesting play. The Morning Post says, it is of genuine and sustained interest; the tale is homely, sympathetic, and probable, qualifications which are but too often wanting in many of the plays that are put on the stage.

Harold, the son of Lady Clarissa Fitzralph, a lady of ancient and aristocratic family, is engaged to Lucy Robins, the daughter of a man who has been disgraced by imprisonment for an offense of which he was convicted upon the evidence of the young Squire's father. Lady Clarrissa opposes the match with all the pride and prejudice of race which render her a haughty and overbearing woman. Her displeasure is shared by the impoverished but well-born Marcus Latimer and his designing daughter Sybil, who had thought to rehabilitate their fallen fortunes by a union with the wealthy Harold Fitzralph. The convict, Daniel Robins, appears once more at Avonthorpe, and recognizes in the beautiful Lucy the child he had years since confided to the guardianship of his brother James, now employed as butler at the Priory. In an unlucky moment he steals a valuable ruby known as Hearts of Hearts," which had been given by the King of Burma to one of Lady Clarrissa's relations. He returns next day to restore the jewel, and, in doing so reveals his identity to Lucy, whose dream of happiness is dashed by the terrible consciousness that she is the daughter of an outcast who has added theft to his other crimes. She is tormented by the old struggle of divided duties, of her love for Harold and her anxiety for the safety of her wretched father. Ere she can smuggle the bracelet containing the ruby into her pocket, she is discovered by her vindictive rival Sybil Latimer, who at once accuses her of the theft which has caused so great a commotion in the household. Confronted by the indignant Lady Clarrissa and her half-doubting lover, she has to choose between the ruin of her father and her own disgrace. Torn by conflictiug emotions, the noble girl struggles bravely to her duty, and accepts in silence the responsibility of the terrible charge. Rather than bring discredit upon the man she loves so truly, she submits to his mother's

orders to leave the house with her guardian, the butler. But this eccentric servitor is determined to have matters cleared up before going, and as his relentless mistress declines to be merciful, he is forced to play a trump card hitherto held in reserve, by in forming Lady Clarrissa that he is the husband of her sister Wilhelmina, This bombshell plays havoc in the stronghold of the Fitzralphs, and the humbled general surrenders her sitadel. The detectives in the meanwhile have arrested Daniel Robins, who confirms his daughter's innocence by a full confession, and Lady Clarrissa, seeing the injustice of her suspicions, takes Lucy to her heart with frank and generous expressions of regret for her harsh treatment. Daniel Robins is pardoned, and the defeated Sybil Latimer retires discreetly from the scene in company with her father, whose attempts to win the fortune of Wilhelmina are proved hopeless by the discovery of her marriage with James Robins, when in her service as groom.

RE-APPEARANCE OF MRS. THOMS.

MRS. CLARA E. THOMS, the gifted pianist, made her re-appearance at Chickering Hall, on Tuesday last, at the New York Vocal Union concert, under the direction of Mr. S. P. Warren. An exquisite poetic touch, fine appreciation of coloring, unfailing certainty in execution, and a strongly-marked individuality characterized her playing of Schubert's song, Du bist die Ruh," transcribed by Liszt; Goldbeck's "Dream Bells" and the "Magic Fire Scene," Wagner-Brassin; the following harmonies of the latter exercised a spell upon the audience, who insisted upon an encore, which was joined in by conductor and chorus, but the artist responded with a brilliant and well-balanced performance of The Chase," by Rheinberger, which again evoked enthusiasm.

THE BARRISTER" IN BOSTON. BOSTON, DEC. 3.-" The Barrister" succeeded Sophia" at the Museum last Monday night, and in the hands of Mr. Field's stock company scored a pronounced success. It is a farcical comedy in three acts, by George Manville Fenn and J. H. Darnley, and has won for itself the approval of London critics when originally presented there in September last. While built upon the same pattern as "The Magistrate," this latest English offering to the list of such plays has merits distinctively its own, and clearly illustrates in plot and text sufficient freedom from plaigeristics motives to win for its authors fame and solid encouragement toward future efforts in a school which

produces plays that serve one end of the stage at last-the wholesome amusement of the public.

The first act is laid in Captain Walker's lodgings in London, who is temporarily absent in India. His butler, Tom Price, to enrich his own purse has rented the lodgings to Mr. Arthur Maxwell, a barrister with an important case in hand. The action shows that the night before the day in which the play opens has been passed by Maxwell in a vain search for his bag which contained valuable papers pertaining to his case, and which had by mistake been taken from a cab by a strange lady whom he had found in distress at the railway station. In restoring her to her friends he had exchanged bags. To win his case the lost papers must be found at once. Upon this hinges the play. Tom's scheme is suddenly upset by learning that his master is returning home. Hence, he must rid himself of his new boarder. Mrs. Maxwell arrives and, investigating the bag brought home by her husband, concludes that he has an intrigue in hand. Miss Fayre who is engaged to Captain Walker, and is also a stranger to Tom's plan and his lodgers, thinks the occupation of the Captain's rooms by a lady a reflection on his honor. Then the secret engagement of the barrister's father-in-law, Major Drayton, to the mysterious lady in the cab, adds another complicating element to the movement, which developes in the second and third acts. Tom's efforts to get rid of his boarders before his master's return, the barrister's search for his bag, the doubts and reflections upon the character of both gentlemen as entertained by the ladies, and the final disentanglement of all at the last moment by the recovery of the lost papers. The action occupies three days, the first and last in the Walker lodgings; the second at a Brighton beach hotel. Each scene is replete with amusing and confusing incidents in rapid succession, which cause roars of laughter, and create an intense interest in their progress. The dialogue is crisp and pointed, and the lines contain many bright sayings, witty puns, and at times scathing repartee. The play is clean, not over-elaborated in detail, and wonderfully entertaining. Its reception was singularly free from the traditional coldness of our first-night audiences. In fact it was most hearty and gratifying. The stage mountings were excellent, and the performance, as a whole, was the best work of this season by the company, not a line or bit of business suggesting a first-night presentation. Such stage management and drill should receive due recognition.

As Mr. Arthur Maxwell, Mr. Charles Barron won new honors, the character is a difficult one, by reason of the never-changing current of distraction, to be depicted, and which could easily become monotonous in less skillful hands. He displayed rare tact in its solution, and great discretion in trying situations. Mr. Wm. Seymour as the barrister's clerk, Mr. Jenkins, raised this ordinary character into strong colors by a keen sense of appreciation of the whims and mannersims so noticeable in a Lincoln's Inn retainer; and Mr. George Wilson, as Tom Price, found ample opportunity for the workings of his rich humor and display of a

capital make-up. A good second to these two was found in Mr. J. Nolan, as the hotel waiter. Mr. Alfred Hudson, as Major Drayton, and Mr. Frazer Coulter, as Capt Arthur Walker, were both tame. The rapid action of the play overweighed their ability to rise to the demands of rôles not difficult when comprehended as they should be. Mr. E. L. to Davenport, as Jack Rodrick, a fop, had but little to say, and much to represent as one of these human make-shifts. That he ably fulfilled his duties is but another indication of his versatility. Miss Annie Clarke, as Mrs. Maxwell, was in a most congenial part. Her acting was very artistic. The mysterious lady of the cab, Miss Foster, was charmingly acted by Miss May Davenport, who emphasized the sparkling lines of her character with the personality of one who, in face and manner, proves while the words convey the humor and point of the mission. Miss Ercsson, as Miss Ellen Fayre, and Miss Dayne, as Miss Drayton, were commendable, and the lesser parts were in good hands. The play was preceded by a bright comedietta-"I Dine With My Mother," in which, as Sophie Arnould, Miss Clarke was most effective, and Mr. Coulter and Miss Dayne very good.

Mr. Frederick Warde at the Hollis Street is enjoying a most successful week, and "The Exiles," at the Boston, is drawing well.--Henry Whiting.

tion.

ART CALENDAR.

National Academy of Design.-Sixth Autumn ExhibiNov. 21st to Dec. 17th. Admission, 25 cts. Metropolitan Museum of Art.-The Wolfe Collection, etc. Admission-Mondays and Tuesdays, 25 cts; other days, free.

Lenox Library.-Admission free; now open daily. Yandell Gallery. - Piloty's "Wise and Foolish Vir gins." Admission, 50 cts.

Twenty-third Street Tabernacle.-Munkacsy's "Christ on Calvary." Admission, 50 cts.; open day and evening. Messrs. Schumann & Sons.-"Choosing the Bride." by K. Makoffski.

Cramer's Gallery.-" Christ and the Adulteress," by Otto Weber. Admission, 50 cts.

WILLIAM NIBLO AND NIBLO'S GARDEN.

As hotel proprietor, owner and manager of theatres, and patron of music, the drama, and art in general, Mr. William Niblo was for many years a well-known character in New York. I first knew him as proprietor of the popular hotel and restaurant known as the Bank Coffee House, at 43 Pine Street. It was beautifully kept, and at that time was the special resort of bons vivants, as was Windust's Shakespeare," in Park Row, twenty years later.

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Opposite the Bank Coffee House was a furniture store, not confined exclusively to the sale of new goods, kept by the mother of a well-known millionaire merchant, now a few years deceased, and from whom young Niblo, when his house had an un

expected run of visitors, sometimes had occasion to hire or purchase, as the case might be, her needful wares. Many years later the millionaire

himself and Niblo had business relations, never particularly amicable or harmonious, regarding the garden and theatre, which, though owned by the millionaire, were leased by Niblo, and have for so many years borne his name.

The millionaire was alwas jealous and distrustful of Niblo. You have lived too long, Niblo, and you know too much!" he exclaimed in a pet one day. They were both men of keen insight, and when they met, it was diamond cut diamond.

From the Bank Coffee House, Niblo removed to the site now occupied by the Metropolitan Hotel and Niblo's Garden. It was then a part of the Van Rensselear estate, known as the Bayard Farm. The ground had been occupied as a circus arena, and on the Crosby Street side was a large, low building, known as the Stadium. This was rejuvenated, arranged with ample corridors, and the auditorium was conveniently fitted up with a stage and accessories for concerts and light entertainments. Two large and commodious dwellings appeared, fronting on Broadway, one of which was occupied by Mr. Niblo, and the other by James Fennimore Cooper, the novelist. Opposite these houses, on the west side of Broadway, at the corner of Prince Street, was the residence of John Jacob Astor. In the rear of the Niblo and Cooper residences, between them and Crosby Street, and extending down to Prince Street, was a large open space, which was beautifully laid out as a garden. It was ornamented with trees, shrubbery and flowers, and the whole space was conveniently intersected by walks and dotted with arbors, in which were seats and tables for serving light refreshments. The building was known as "Niblo's Saloon," and the open space as Niblo's Garden, and they at once became favorite places of resort. On Monday, May 18, 1829, the " Saloon" was formally opened as a place of amusement by a grand concert called the New York Musical Festival." It was under the general direction of the favorite singer, Charles E. Horn, and I remember preparing the programme. It was quite a pamphlet, and besides the usual programme, contained all the words of the vocal part of the concert. Upon the cover, as patrons of the affair, appeared the names of many well-known citizens of New York, among which were those of the Hon. S. Van Rensselear, John Jacob Astor, Esq., Nathaniel Prime, Esq., John and Philip Hone, Charles King, John Delafield, and many others. William Taylor led the orchestra, and the performers, instrumental and vocal, numbered altogether over two hundred persons. The first part of the programme was sacred, being selections from the oratorio of the "Messiah." The second part was classical, and the third part was miscellaneous. It was a grand event for those times, and was a decided success. It immediately gave prominence to Niblo's Saloon as a first-class concert place.

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Prince Street was at that time very far up town, and a great need was felt for some more regular

This, notwithstanding the controversy occasionally indulged in upon the subject, may safely be set down as the first line of stages started in New York.

Niblo very soon sold out the line at a good profit, and others were soon afterward established. It may also be mentioned here that the first public baths in New York were those established at the Battery by Mr. Niblo.

The next important change at the "Garden" was the appearance of the "Summer Theatre." It was a large, plain sort of a building, fronting on Broadway, above the two residences already mentioned, and extending well back toward Crosby Street. It was, for those times, elaborately fitted up with mirrors and colored lights, and ornamented with pots of flowers and ferns. It at once became the fashionable place of amusement, and the garden as a fresh breathing-place, with its shrubbery, flowers, arbors and ice-cream, long remained a great attraction.

The bar and lunch-counters were together in a separate building, opening both toward the theatre and toward the garden. The times of old-fashioned hospitality had not yet quite passed away, and on many an evening, or after some fatiguing rehearsal, a few members of the band or favorites of the company would find a comforting snack awaiting them. Old Dimulda (spelling ?), the winemerchant, was frequently on hand. Why, bless my soul!" the old man would say, in his foreign way, "I had altogether forgotten it, but it is my birthday; bring me half a dozen of wine.' And his birthday not uncommonly occurred two or three times a week. I recollect a little episode there one evening which caused some excitement at the time. A gentleman, now a prominent banker, was speaking lightly of a certain lady, who was the subject of conversation, when another gentleman took exception to the remark, and slapped the speaker's face. A challenge, a duel in Maryland, a wounded and shortened limb, a reconciliation, and, I believe, years of friendship, all followed the little incident and sensation in Niblo's Garden in August, 1841.

were

The Summer Theatre continued a most favorite place of amusement for many years. Under Sefton's management a vaudeville company produced a succession of bright, musical farces, among which "Chaste Salute,' More Frightened than Hurt," "Promotion of the General's Hat," and others. The Ravels, the Seguins, Burton in Toodles" and "Paul Pry," Placide, E. L. Davenport, John Brougham, and other noted actors and singers appeared, until the theatre was destroyed by fire in September, 1846.

Speaking of Burton-his old theatre in Chambers Street was long the home of the comic muse, and especially of comedy and farce, as represented

by his own acting. In addition to the mirth-provoking element in his representations, he also possessed the qualities of a wit and a practical joker

One night at his own theatre, in addition to the usual play, there was on the bill an afterpiece, entitled "A House for Sale," in which Mr. Burton would take the principal role. There seemed to be an unusually long wait before the curtain went up for the afterpiece, and some of the audience became impatient; one man especially, in one of the front rows of the pit, near the orchestra, evidently a countryman, became particularly emphatic and noisy in his demonstrations of disapproval. Some conservative near by mildly suggested that he should keep quiet and save his boots. This, however, only increased the countryman's wrath and clamor. Then commenced opposing cries of 'Shut him up!" Put him out!" and, on the other hand, Let him alone!" "He's right!" 'It 's an outrage!" The whole house began to get interested and to take sides, some shouting Police!' 'Take him out!" and others, "He's right!" "Let him alone!" In the meantime, a policeman walked rapidly down the aisle, and after an exciting tussle, the countryman was arrested and led out amid excited and mingled cheers of "Shame! Shame!"

A moment later the curtain was rung up, and on the stage stood the policeman still holding the countryman by the collar. They bowed to the audience, and the countryman, now evidently Burton, remarked that the House was Sold!

The new theatre was not opened until 1849. September 27, 1855, should be specially noted in the history of American music, though it has not been noticed at all by the historian of "Opera in New York." On that evening there was produced at Niblo's Garden an entirely new and original opera, upon an American subject and by an American composer. The opera was entitled 'Rip Van Winkle.' The libretto was arranged by J. H. Wainright, from Washington Irving's sketch of that name; the composer was Mr. George F. Bristow, and it was brought out by the Pyne and Harrison Opera Company. The music was bright and taking, though, perhaps, not always in perfect keeping with the quaint and old-time subject, and the orchestration was excellent. Mr. Stretton took the title rôle, and Miss Louisa Pyne, a charming English prima donna, bright, pleasing, and artistically excellent, sang the part of the daughter Alice. The opera was beautifully put upon the stage, was received with enthusiasm, and had a most successful run.

In 1858, his lease having expired, Niblo retired from theatrical management and business generally, and lived quietly, indulging his benevolent impulses and his taste for art.

Niblo took a particular liking for the talented writer and popular actor, Tyrone Power. At the end of his Park Theatre engagement, Power was to return to England to fill an engagement in London. Niblo was also about to visit Europe, and his wife urged that they should cross together, thus making a more agreeable trip for both. Mr.