spectator. Venice is re-peopled with the past, affording truth to the
eye, and reflection to the mind.

The introduction of the Princes of Morocco and Arragon at Belmont,
hitherto omitted, is restored, for the purpose of more strictly adhering
to the author's text, and of heightening the interest attached to the
episode of the caskets.

The costumes and customs are represented as existing about the year
1600, when Shakespeare wrote the play. The dresses are chiefly selected
from a work by Cesare Vecellio, entitled "Degli Habiti Antichi e Moderni
di diverse Parti del Mondo. In Venetia, 1590;" as well as from other
sources to be found in the British Museum, whence I derive my authority
for the procession of the Doge in the first scene. If the stage is to
be considered and upheld as an institution from which instructive and
intellectual enjoyment may be derived, it is to Shakespeare we must look
as the principal teacher, to inculcate its most valuable lessons. It is,
therefore, a cause of self-gratulation, that I have on many occasions
been able, successfully, to present some of the works of the greatest
dramatic genius the world has known, to more of my countrymen than have
ever witnessed them within the same space of time; and let me hope it
will not be deemed presumptuous to record the pride I feel at having
been so fortunate a medium between our national poet and the people of
England.

CHARLES KEAN.

THE MERCHANT OF VENICE.