than any that have been constructed in later days. It would have
been impossible, by reason of the magnitude of the edifice, and
consequently of the stage, to have changed the scenes in the same
manner as in our smaller buildings. The scene, as it was called, was
a permanent structure, and resembled the front of Somerset House, of
the Horse Guards, or the Tuileries, and was in the same style of
architecture as the rest of the spacious edifice. There were three
large gateways, through each of which a view of streets, or of woods,
or of whatever was suitable to the action represented, was displayed;
this painting was fixed upon a triangular frame, that turned on an
axis, like a swivel seal, or ring, so that any one of the three
sides might be presented to the spectators, and perhaps the two that
were turned away might be covered with other subjects, if it were
necessary. If parts of Regent Street, or of Whitehall, or the Mansion
House, and the Bank of England, were shown through the openings in
the fixed scene, it would be plain that the fable was intended to be
referred to London; and it would be removed to Edinburgh, or Paris,
if the more striking portions of those cities were thus exhibited. The
front of the scene was broken by columns, by bays and promontories in
the line of the building, which gave beauty and variety to the façade,
and aided the deception produced by the paintings that were seen
through the three openings. In the Roman Theatres there were commonly
two considerable projections, like large bow-windows, or bastions,
in the spaces between the apertures; this very uneven line afforded
assistance to the plot, in enabling different parties to be on the
stage at the same time, without seeing one another. The whole front of
the stage was called the scene, or covered building, to distinguish it
from the rest of the theatre, which was open to the air, except that
a covered portico frequently ran round the semicircular part of the
edifice at the back of the highest row of seats, which answered to