These last extracts are quite sufficient to show the style which now obtains in this class of advertisements, and to prove that what a score of years ago promised to be a neverending source of amusement has become sadly deficient of its original properties.

Familiar to many people, among curious announcements, will be the following, which is one of many similar that have from time to time appeared in the leading journal :

THE

HE CHANCELLOR of the EXCHEQUER acknowledges the receipt of the first halves of two £10 notes, conscience-money, for unpaid Income-Tax.

The man who sends conscience-money for income-tax must have been virtuous indeed, if the evasion of that impost has been through life his worst sin. There are many otherwise estimable persons whose greatest pride it is that they have never paid income-tax unless compelled. Yet these men have in ordinary matters the greatest abhorrence of anything mean or paltry, and their general conduct might be safely contrasted with that of the bestowers of consciencemoney. So, after all, there is something more than a joke in the humourist's idea of a grand new patriotic song called "Never pay your taxes till you're summoned, my boys!"

Those who wear artificial teeth must have been now and again indescribably shocked by advertisements like the following, which, scarce a short time back, are getting more and more frequent, so that what at first appeared a revolting riddle to the many, may have now developed into a lucrative pursuit for the few. Is it right to suppose that new sets of teeth are made up from second-hand materials? If so, how horrible!

WAN

WANTED to PURCHASE some OLD ARTIFICIAL TEETH. Persons having the above to sell can apply, with the teeth, or, if forwarded by post their value will be sent per return.—Mr

Theatrical advertisements are, as has been remarked, often very funny, and whether from ignorance on the

part of the writers, or the prevalence of technology, the columns of the Era absolutely teem with startling notices, which when coupled with the really remarkable as well as "original" correspondence, and the provincial critiques, make the chief theatrical organ one of the most genuine among comic papers, and this is none the less so because the Era's comicality is unintentional. A fair specimen of the general style is given in an advertisement appearing in March 1874, and if our reproducing it will be of any use to Messrs Gonza & Volta, they are quite welcome. In fact it would be sad to think that such an effort should go unrewarded :—

The Modern Hercules and Achilles. The Goliathan Gymnasts. The Champions of Olympia Resuscitated. The greatest Athletes since the Christian Era.

M. DE GONZA, the famous Mexican Athlete of the Golden Wing and Olympic Club; also of Crystal Palace, Cirques Napoleon and de l'Imperatrice celebrity, and late Proprietor of Gonza's Transatlantic Combination Company, has much pleasure in announcing that the Colossal Sensation he is about submitting to the World's criticism is in course of progression, and that he has secured the services of EDOUIN VOLTA, the grandest Aerial Bar Performer of the period, who will have the honour of making his First Appearance in England in conjunction with M. DE GONZA'S New Aerial Athletic Performance. M. DE GONZA, without desiring to eulogise, prognosticates that his coming achievement will introduce an astonishing epoch in gymnastics. In ancient days mythological conceptions were framed by senile philosophers for the wonder and delectation of the inhabitants of the world B.C., more particularly during the existence of Rome under the Empire, when the stupendous Colosseum lived in its glory, and where myriads witnessed the famous gladiatorial combats. In those mighty days of heroism, when the great pan-Hellenic festivals were held, every fourth year in Olympia, instituted by Iphitus, King of Elis, the ninth century B.C., when Athletic revels and Icarian games were as prevalent as cigar smoking in this generation, people were more prone to countenance the possible existence and marvellous exploits of the gods and goddesses.

Evanescent ages have flown by, and in the sentiments of millions there now subsists a certain amount of familiarity with the intrepid and valiant deeds of those illustrious mythological gods Hercules and Achilles. They have been quoted and spoken of so often that their fictitiousness is forgotten. They have ingratiated their fabulous selves into the good graces of mankind, and become entwined around their minds like the ivy around the gnarled and knotted oak; and, although centuries have passed away, this nurtured concatenation of deeprooted imaginations have not proven altogether futile, for these legendary and dauntless heroes actually do exist in the persons of

GONZA and VOLTA,

The Cyclopean Athletes of the Age.

Anchorites, ascetics, persons of secluded and fastidious natures, stoics, and misanthropists, all will be metamorphosed into congenial spirits, and be reconciled to the world and its pleasures after witnessing these gigantillos and wonders of creation in the most surprising and surpassingly elegant gymnastic exhibition hitherto placed before an appreciative nation, the production of which due notice will be given. Meanwhile all communications are to be addressed to M. DE GONZA,

Turning from such extremely professional exponents of art and literature, we are reminded of one who stands in quite an opposite position to that of the Cyclopean athletes, Dr Vellère, the champion and foremost representative of the "unacted and unread," of the theorists who would regenerate the drama with their own works, and, if they could only once be performed, would mark an epoch in the history of the stage. Doubtless they would. About five years ago the enthusiastic Doctor-who, being a foreigner, has a perfect right to regenerate the British drama, as well as the British Constitution—burst forth in the Times, and at once placed himself at the head of that glorious minority which, owing to the iniquitous "ring" formed by a clique of authors, managers, and critics, cannot get its plays, marvellously good as they are, produced; and thus not only they, but the great British public are sufferers under a system which Vellère & Co. will yet expose or perish in the attempt. The first advertisement of the regenerator appeared on October 2, 1869. It ran thus:

To the FATRONS of the LEGITIMATE DRAMA and to the

PLAY-GOING PUBLIC in GENERAL.

Ladies and Gentlemen,-As a general outcry arose some considerable time ago that there was a great dearth of good, original English dramas, and as the recent so-called original productions of English dramatists have failed to stifle it-because they have either traduced English society or have been simply adaptations from the French respecting a state of society which cannot exist here, and in both cases have proved unpalatable to the English, and, therefore, unsuccessfulI, who am a writer in more than one language, resolved to produce a drama on purely English topics, and I was guided by the dictum of your immortal poet, Byron, that "Truth is stranger than fiction," because all fictitious situations prove less "sensational" (pardon me the vernacular), as produced by those dramatists, with all the powerful accessories and machinery of the stage, than the simplest police report from the daily papers. It took me more than a year of my halfholidays to write the drama "Stern Realities," and in about five months I wrote the play "Trust." Now, I have been trying for the last eighteen months to have one of these pieces accepted, but all my endeavours have been in vain. The excuse was, that I am not known (a circumstance which, by-the-by, happened once to Shakespeare also), and that it is far preferable to produce the works of authors already known to the public, even if their more recent efforts have proved a failure in more than one respect. It is now for the public of this great country to decide whether this arrangement between Managers of Theatres and a certain small clique of authors is a monopoly that is to go on for ever; or whether it is only a false and preconceived notion on the part of the former regarding the want of good taste for superior productions on the part of the public. Though I am a foreigner I consider myself as one of the public who has endeavoured to amuse his fellow-citizens, but to whom no opportunity has hitherto been afforded. However, as the author of a collection of songs, of which some are written in English, French, and German, or English and German, or simply in English poetry, and which volume is entitled "Honi soit qui mal y pense," and was collectively dedicated to the Queen, and accepted by her Majesty, containing dedications also, by special commission, to ladies of the highest titles, and to others equally exalted in attainments, I beg you to believe me, when I assure you, on the word of a gentleman, author, and schoolmaster, that the two pieces I have written will meet with your approbation. I appeal now to you, ladies and gentlemen, to assist me in bringing out one of the two pieces; and, in my humble opinion, the most effectual way, perhaps, in which this could be done, would be in addressing me a note, kindly informing me which

of the two pieces, "Stern Realities" or "Trust," should in your opinion be performed first, and that you promise you will come to see either or both. Receiving thus from you a great quantity of letters, I shall, armed with such a phalanx of patronage, present myself as the bearer of the popular will to the Manager of one of the London Theatres, and-we shall see! A letter simply addressed thus, "Dr. Vellère, Harrow," will safely reach me. Trusting to hear from you at your earliest convenience, I remain, ladies and gentlemen, very faithfully yours,

The English and Continental College,

Harrow, October 1st, 1869.

E. R. W. VELLERE.

Before the attention directed to this novelty in literature had died away, another similar effusion appeared, and for about a twelvemonth the Times contained every three or four weeks a message of direful import from Dr Vellère on dramatic monopoly and its probable ultimate effect on dramatic literature and the stage generally, varied by requests similar to those given here. Iniquity was still triumphant, however, and the patrons of the legitimate must have been unwilling to interfere, for at the end of the year Dr Vellère was yet unacted. He is still busy writing plays, for he believes that success must come in the end; and if his literary ability be in any way proportioned to his pertinacity, the chief of the Elizabethan roll of dramatists has at last met a worthy rival. Happily there is a way out of the difficulty with which Dr Vellère and his friends are encompassed. Let them take a theatre, engage actors, and play each other's dramas in turn. If they can only agree as to the order of production, and the relative merits of the pieces, they are sure to succeed; for if our experience goes for anything, the unacted and unread are sufficiently numerous to support any house of moderate pretensions. But they mustn't all want to be put on the free list. That great distinction must be left for Dr Vellère and a chosen few-composed, say, of friendly critics, and managers distraught with the knowledge that priceless gems have been discarded, and that the new era has at last arrived.