I am compelled to see in his project chiefly a jealous ambition to rival the great and triumphant accomplishment of Richard Wagner, but it is possible that he had a prescient eye on a coming time.

The desire to combine pictures with oratorio has survived the practice which prevailed down to the beginning of the nineteenth century.

Handel used scenes and costumes when he produced his "Esther," as well as his "Acis and Galatea," in London.

Dittersdorf has left for us a description of the stage decorations prepared for his oratorios when they were performed in the palace of the Bishop of Groswardein.

Of late years there have been a number of theatrical representations of Mendelssohn's "Elijah." I have witnessed as well as heard a performance of "Acis and Galatea" and been entertained with the spectacle of Polyphemus crushing the head of presumptuous Acis with a stave like another Fafner while singing "Fly, thou massy ruin, fly" to the bludgeon which was playing understudy for the fatal rock.
This diverting incident brings me to a consideration of one of the difficulties which stand in the way of effective stage pictures combined with action in the case of some of the most admired of the subjects for oratorios or sacred opera.