St. Anne (Russia), and of the Iron Crown and Leopold (Austria).

The Marquess of Hamilton's two brothers who are in Parliament, Lord Claud John, and Lord George Francis, represent Liverpool and Middlesex, respectively, and are well-known political powers in the House of Commons.

AUGUSTUS HARRIS.

IN the histrionic profession we have another remarkable and brilliant example of a son following in the steps of his father, in the person of Augustus Harris. Conspicuously the father (an Augustus too, a name which to some may appear characteristic and suggestive) possessed tact and talents, energy and enterprise, invaluable qualities, inherited in more than an equal degree by his son. The father achieved great work during his career, but the son has undertaken more varied tasks.

Augustus was the eldest son, and was born on the 18th March, 1852, on the Boulevard des Italiens, Paris, his father being at that time stage manager at the Opera at the Salle Vendalour. His education, which was a most liberal one, commenced at a London College, and was continued at the Chaptal, Paris. From thence, having attained a competent knowledge of French, to complete his education, and to acquire an acquaintance with German, he proceeded to Hanover. He was at first intended for Commerce, and his proficiency in foreign languages procured for him an engagement in a merchant's office. From 1871-73 he was employed as foreign correspondent by Messrs. Emile Erlanger & Co., but which firm he left to improve his position in the Paris house of Messrs. Tiffany & Co., of New York. His father soon after dying, his connection with commerce ceased. Although he preferred fiction with all its allurements to facts, figures and fractions, it is clear that his brief career in the counting house proved most valuable, and

contributed much to make him the consummate man of business he is acknowledged to be; and he likewise profited by the experience gained in the complicated mysteries of stage management and the excellent example of his father.

Mr. Harris, sen., died on the 19th of April, 1873, and Augustus soon afterwards resolved to make acting the business of his life. His first step was to accept an engagement at the Theatre Royal, Manchester, the late Mr. John Knowles, then being the lessee. He made his debut in September, 1873, as Malcolm in Shakspeare's tragedy of "Macbeth." From that hour to the present, he has identified himself with juvenile tragedy and light comedy, for which in face and figure he is specially qualified. For this line of business he was next engaged at the Amphitheatre, Liverpool, playing with Mr. Barry Sullivan, who was, of course, the leading tragedian. He here became a favourite with the large audiences of that great place. It was during his playing at Liverpool, that Mr. Mapleson with his opera troupe visited that city, but during his stay a disagreement arose between him and his managing man. Harris accidentally calling upon Mr. Mapleson he offered him the post of asssistant stage-manager, which he accepted, and for two weeks he officiated in that capacity, but so efficiently did he discharge the requirements of the post that he was preferred to the higher station, which he retained for a period of three years. It may be here noted that the duties of the stage manager are most arduous and onerous, requiring the eye of the painter and the knowledge of the adjutant. The stage Prospero has to "work by wit and not by witchcraft;" he has no Ariel or Puck, or other nimble sprites, but a motley mixture of mortal mould to do his bidding and to try his patience.

In 1876 Harris was employed by Lord Newry in negociating with the Odeon Company of Paris, for the production of "The Danischeff," at the St. James's Theatre. In the same year, in partnership with Mr. Charles Wyndham, Mr. Harris produced at the Crystal Palace the pantomime of "Sinbad the Sailor"-the greatest success of its kind ever achieved at Sydenham. Having induced Mr. Wyndham to produce the "Pink Dominoes," and accepted the part of Harry Greenlanes, which he played for the entire run of 500 and odd nights, the next Christmas found him doing double duty at the Criterion, as actor; and at the Crys

tal Palace, as author and stage-manager. This involved, as may be imagined, a great deal of assiduity, and his energy and devotion to his art at this time conspicuously manifested themselves. After the performance was over at the Criterion, he would take train for Sydenham, where he slept, and by break of day would be up and at work in the palace; continuing hard at it during the whole of the day, till the very latest hour. On his returning to the Criterion, no space was allowed him before he resumed his labours again. We have further attestation of his indomitable perseverance, for when Mr. Bruce opened the Royalty Theatre, Harris undertook the offices of treasurer, acting and stage manager, and acting and writing into the bargain; he was also part-author of a piece called "Venus." It proved a hit, and made the fortune of the management.

We have now come to the most important event of Mr. Harris's life. At the early age of twenty-seven, he became lessee of the Theatre Royal, Drury Lane. A bold step, it must be admitted, when we consider the responsibilities attached to such a gigantic venture. During the first year of his management he produced "Henry V.," "Blue Beard" (pantomime), and " Madame Angot," which fully established his position as an able theatrical director,

On the 21st July, 1880, the Theatre opened for the longest season on record with the melo-drama of "The World"-one of the greatest triumphs in theatrical management, it having to be withdrawn in the height of its success to make way for the pantomime of " Mother Goose." Nine nights only before the commencement of the pantomime season was there a cessation of performances. People were working night and day, under the supervision of Mr. Harris, so that all the necessary arrangements should be completed. It was an enormous success. After one of the most successful of winter seasons the "World" was revived, when it ran a second time for six weeks, and at the Surrey Theatre it was played for four weeks. Its popularity was not as yet exhausted, for it will shortly be revived at "Old Drury," public approbation fully warranting its reproduction. This highly successful drama was constructed and partly written by Mr. Harris, and, moreover, he superintended its preparation and played one of the principal parts in it. Of its kind, it is admirable, though its pretensions were not very lofty; but perhaps the best comment is to be found in Mr. Harris' banker's book. The success it

obtained in London is now finding a parallel in the United States. "The World" was withdrawn to make way for Mr. John McCullough. The probation of that gentleman, however, was too brief to develop his genius, and it may be questioned whether judicious selection was made for the attempt. Mr. McCullough's noble presence, fine voice and features, cast in the mould of the antique Roman, are exactly what are required for a Coriolanus, a Brutus, or any other Roman character. He would be an ideal Macbeth, and is in every way suited to that splendid conception of Dr. Young's, the Moorish prince, Zanyn. (The doctor's tragedy has been strangely neglected of late years. It will be remembered it was the favourite part of the unhappy Mossop; Kemble and Young were great in it, and from what Hazlitt tells us, it must have been one of the most perfect impersonations of the elder Kean. Lord Byron admired it, and played it himself in a private theatre. It may be a gratification to Mr. McCullough to know that he won the warmest admiration from experienced play-goers, who are not to be deluded by fantastic tricks, but who thoroughly know what good acting is. We understand that Mr. McCullough is a native of that land of geniusIreland; he is not an American, as many suppose. It is to be hoped we shall soon see him again.)

We now have another evidence of Mr. Harris's enterprising spirit in the introduction of the Meiningen Court Company to a metropolitan audience. Their performances are the wonder and talk of London, and have produced the most satisfactory results. It is a joint speculation on his part, and on the part of the Company belonging to H.S.H. the Duke of Meiningen, and the success achieved is a confirmation of the wisdom of the experiment. Mr. Harris is determined to keep the ball up, for on the departure of the Meiningen Company we are promised a new spectacular drama from the combined pens of Mr. Harris and Mr. Paul Merrit. On Boxing night we are to be treated with a pantomime bearing the title of that ever-interesting hero, Robinson Crusoe. The principal pantomimists engaged are Messrs. Henry Payne, Arthur Roberts, Harry Jackson, Fanny Leslie, and many other pantomimic celebrities. In the spring a Grand German Opera Company, under Herr Hans Richter, will take possession of the theatre. It may be here chronicled that for a protracted season of three hundred and forty nights, the doors of the

house have only been closed fifteen times-a fact unprecedented in its annals.

The ordinary spectator, when he enters Drury Lane Theatre, sees the box keeper, the check taker, and a sprinkling of attendants flitting about. He takes his seat inside, which is gaily lit, delicious streams of music flowing from a crowded orchestra; the bell rings, the curtain rises; at the touch of Prospero's wand a magic scene springs into view; the stage fills with figures in beautiful costumes-the numbers multiply; wonder grows on wonder, till the palllike curtain drops upon the last scene of all. On going away, the spectator probably does not know, probably does not think, that to create this combination of enchantments the unseen outnumbers the seen, and what vast sums of money are expended, and how valuable to labour is a great theatre.

From the following statement the reader will be able to form an estimate of the expenses (never under £1,000 a week) and the number of persons employed by Mr. Harris at Drury Lane, and of its importance in a commercial point of view. (It must be understood that out of the pantomime season the number of people engaged is diminished.) Besides a body of regular actors and actresses, there are employed a band of 40 musicians, the chorus. amounting to 20; ballet, &c., 100; supernumeraries, 100; carpenters, 50; property men, &c., 30; gas men, 15; limelight men, 18; dressers, 20; firemen, 10; money and check takers, 20; police, 8 (not counting those outside the house); scene painters and assistants, 12, besides the numerous heads and attendants of other departments. In addition there are to pay box-keepers and attendants, wardrobe keepers, stage and acting managers in front and at the back of the stage. Besides the maintaining of this large force, there are other large items of expenditure to meet, such as £200 weekly for posting bills, at times about the same amount for advertisements, and this expense is never below £80 or £100 weekly. To swell the list of dis-bursements, there are all those, by no means insignificant, matters of rent and gas, repairs, &c. It cannot be expected that the uninitiated can calculate the serious amount of responsibility incurred by the lessee of such a colossal establishment as Drury Lane Theatre. And it should be remembered that Augustus Harris is the youngest man that ever controlled the destinies of this huge Temple of the Drama.