Venus appears to implore the aid of all the gods, to restore her lover to her. She bathes him with her tears, and those precious tears have such a virtue, that Adonis appears all of a sudden transformed into an anemony or wind-flower.

The Graces and the nimphs express their surprise; but the astonishment of the hunters should be yet more strongly marked.

Venus herself is not the more comforted by this metamorphosis. A flower cannot well supply the place of her lover. She turns then her eyes towards the earth, and seems to invoke the power of some deity inhabitant of its bowels.

The flower disappears; the earth opens, and Proserpine rises out of it, sitting on a chariot drawn by black horses, and having at her side Adonis restored to life.

It is natural to imagine the joy that is at this to be expressed, by the simphony, by the gestures, and steps of Venus, of the Graces, the nimphs, and hunters.

Proserpine, getting out of her chariot, holding Adonis by the hand, presents him to Venus. A pas-de-trois or trio-dance follows, in which the joy of the two lovers at seeing one another again is to be characterised by all the expression, and all the graces of the most pleasing dance, while Proserpine testifies her satisfaction at having produced the re-union: after which, she gets into her chariot, and re-descends into the earth.

The Graces, the nimphs, and hunters, express how highly they are charmed at seeing Adonis again; Venus and Adonis form a pas-de-deux, or duet-dance, in which the Goddess takes off her girdle or cestus, and puts it upon Adonis, in the way of a shoulder-belt, or as now the ribbons of most orders of knight-hood are worn, which is to him a simbol of immortality.

The Graces and nimphs testify to Adonis how pleased they are to see him received into the number of the demi-gods: the hunters pay their homage to him, and the whole concludes by a general country-dance.

The other specimen has for title,

The COQUETTE PUNISHED.

The decoration represents a delicious garden, in which there are several compartments, separated by canals and jet-d'eaux. This scenery should exhibit the prospect of at once a pleasure-garden, and a fruit-one.

In the bottom of this perspective, there appear several gardeners busied, some in pruning the hedges, others in sowing and planting: more towards the front are seen, some women at work, tying up the flowers, or cleaning them from pernicious leaves; others setting roots in vases. All this forms the scenical picture at the drawing up the curtain.

A simphony mixed with the most rural instruments of music, begins with soft and soothing airs.

One of the female gardeners, more showishly dressed than the others, and who is employed upon some necessary task about the flower-vases, seems however more attentive to the admiring the flowers, than to do her work: and as she is standing near a canal, she is, when she imagines none are taking notice of her, looking at her figure in the watery mirror, admiring herself, and adjusting her dress. Though she does all this by stealth, her companions remark her coquettry, make signs to each other, and point her out to the gardeners, who join the laugh at her, without the coquet's perceiving it, who is too much taken up with herself.

The simphony should express by the sounds, as nearly as possible, the mockery and bursts of laughter from the rest of the gardeners.

The coquet is sadly tempted to gather some of the flowers for her own use, but dares not. In the moment that she is expressing the greatest mind for it, enters a gardener, who is not one of those employed at work, and who makes up to her, shows her a fine nosegay, and signifies to her that he is come on purpose to offer it her. The coquet immediately leaves off her work; and this pas-de-deux begins by all the little grimaces and false coyness that the coquette opposes to her acceptance of the nosegay, but which at the same time only the more betray the mind she has for it. The gardener keeps pressing her to receive it. Her companions, curious to see how this will end, advance little by little towards them: the gardeners follow them; and all surrounding the coquette and her swain, form a dance, in which the men seem to excite the lover not to take a denial, and the women want to engage the coquette to receive the nosegay; but all this, with a bantering air: at length the coquette accepts it, sticks some of the flowers in her hair, and the rest in her bosom. Her companions and the gardeners, shew by their signs, that they were very sure she would take the nosegay and return to their, work.

Another gardener now enters, on the side opposite to that on which the first came, and advancing with an air of gaiety, presents to the coquette, a small basket of fine fruit. In this pas-de-trois, she a-fresh makes a great many faces, about whether she will take the fruit or not. The swain of the nosegay expresses his vexation at the intervention of this rival, but the coquette manages so well that she pacifies his jealousy, and accepts the other's basket of fruit, which she hangs upon her arm. The gardeners do not quit their work, but they give to understand by shrewd signs, what they think of the coquette's game.

It is easy to conceive, that the composer of this music will, in the airs made for the pas-de-deux, and pas-de-trois, pay attention to the different affections that are to be characterised by the dance.

While the gardener who brought the nosegay, and the other who presented the fruit, and the coquette, are all seemingly in good harmony, enters a third gardener, gallantly dressed, of a most engaging figure, having in his hands some pink-and-silver ribbons.

The simphony should announce the arrival of this amiable gardener, by an air all expressive of briskness and gay gallantry.

The gallant gardener approaches the coquette, and shews her those glittering ribbons, which at once catch her eye, and give her a violent longing for them. This new-comer takes notice of the flowers in her hair and bosom, and of the fruit-basket hung upon her arm. He gives her plainly to understand that she must return all this to his rivals, if she has a mind to have the ribbons. These begin to express their resentment; but the coquette is so transported with the pleasure of bedizening herself with those ribbons, that no regard can with-hold her: she returns the flowers to the one, and the fruit to the other, and takes the ribbons. The two gardeners, who see themselves slighted in this manner, threaten him who has given the ribbons, and throw themselves into attitudes of falling upon him; at which he puts on a resolute look, and does not seem to fear them. Her companions and the gardeners leave their work, and advance some steps forwards, being curious to see how the scene will end.

The simphony should here express, by different airs, the resentment of the two first swains, and the resentment of the gallant gardener.

The coquette uses her best arts to pacify the two angry gardeners; but it is all in vain; they express their indignation, and are determined to take their revenge upon their rival. Just in the instant that they are preparing to attack him, and that he is stoutly standing upon his defence, comes in a female gardener, amiable, lively, but without any mark of coquettry in her looks or dress; who, by the eager and frightened air with which she interposes, and places herself between the gallant gardener and the others, to prevent their hurting him, discovers the tender regard she has for him.

The two others, in respect to this charming girl, dare not proceed; but they give her to understand that the coquette has been so base as to return the flowers to the one, and the fruit to the other, that she might get the ribbons from the gardener whom she is protecting from their just resentment.

At this the offended fair one expresses to her lover her indignation, but does not the less for that make the others sensible that she will not suffer them to hurt him. She snatches next, from the coquette, the ribbons. The whole company round testify their approbation of what she has done, even the two gardeners, who were, the moment before, so angry, burst out a-laughing for joy, to see the coquette so well punished, being now left without flowers, fruit, or ribbons; at which she withdraws, overwhelmed with confusion, and with the loud laugh and rallying gestures of her companions and the other gardeners.

The gay gardener, vexed at having been surprised by his mistress, in an act of gallantry to another woman, wants to pass it off to her as merely a scheme to amuse himself, and to laugh at the coquette. At first she will not hear him; she treads the ribbons under her feet, and is going away in a passion. He stops her, and entreats her forgiveness with an air so moving and penetrated, that, little by little, she is disarmed of her anger, and pardons him, in sign of which she gives him her hand.

There is no need of specifying here what the dance in action, accompanied by the music, should express in this pas-de-deux; it is too obvious.

The gardeners, men and women, testify their rejoicing at this reconciliation, and the dance becomes general.

FINIS.

* * * * * * * * * * * * * *

SPELLING NOTES:

The word "Salii" was consistently printed as Salue (u with umlaut); it has been corrected for the e-text. The word "Praesul" was printed in italics and may have read "Proesul" (oe for ae ligature); it is here given the standard spelling.

A number of words usually spelled with "y" are written with "i" in this text: nimph, mith, simbol; and names such as Pilades, Hilas.

The form "Hetruscans" is used consistently.

Some Variations and Anomalies:

"character" is sometimes spelled "charracter" or "caracter" "direct" and "dirrect" both occur "withall" is more common than "withal" "embarras" is consistently spelled with one "s" "exagerate" is almost always spelled with one "g"

"choregraphy" is always written without the second "o" "gestual" is not an error for "gestural" but a different word

ERRORS, noted or corrected:

All duplications occur across a line break ("of / of ...").

diverting the Romans from serious thoughts [thoughs] twirling it, or with a pail to draw water [a a pail] Voi gli correrete dietro [Voigli] "Then handing you backwards [catchword has "There" for "Then"] specifying rules for its attainment [for for] must be strictly forbidden [fobidden] a vain silly hint of self-recomdation; [text unchanged: "recom/dation" at line break] nothing is more strongly inculcated [stongly] Persons of every size or shape [of of] inhabitants of the southren climates [spelling unchanged] called by them LasChegancas, [spacing unchanged] (not to mention Sadler's wells) [capitalization unchanged] not being able to contradict the authorities [printed "be/ing" at line break without hyphen] adopted with a passionate fondness by the Romans [adoped] the obstacles which arise out of the ground-work [printed "our of", corrected by hand to "out of"] and steps of Venus [of of]

THE END