A Florentine Tragedy

ra. In an introduction to the English translation published by Mr. John Lane it is pointed out that Wilde's confusion of Herod Antipas (Matt. xiv. 1) with Herod the Great (Matt. ii. 1) and Herod Agrippa I. (Acts xii. 23) is intentional, and follows a mediaeval convention. There is no attempt at historical accuracy or archaeological exactness. Those who saw the marvellous decor of Mr. Charles Ricketts at the second English production can form a complete idea of what Wilde intended in that respect; although the stage management was clumsy and amateurish. The great opera of Richard Strauss does not fall within my province; but the fag ends of its popularity on the Continent have been imported here oddly enough through the agency of the Palace Theatre, where Salome was originally to have been performed. Of a young lady's dancing, or of that of her rivals, I am not qualified to speak. I note merely that the critics who objected to the horror of one incident in the drama lost all self-control on seeing that in