TABLEAUX VIVANTS depend for their effect not only on the happy disposal of lights and the delusive-interposition of layers of gauze, but on a corresponding adjustment of the mental vision.

To unfurnished minds they remain, in spite of every enhancement of art, only a superior kind of wax-works; but to the responsive fancy they may give magic glimpses of the boundary world between fact and imagination.

Selden's mind was of this order: he could yield to vision-making influences as completely as a child to the spell of a fairy-tale.

Mrs.Bry's TABLEAUX wanted none of the qualities which go to the producing of such illusions, and under Morpeth's organizing hand the pictures succeeded each other with the rhythmic march of some splendid frieze, in which the fugitive curves of living flesh and the wandering light of young eyes have been subdued to plastic harmony without losing the charm of life.
The scenes were taken from old pictures, and the participators had been cleverly fitted with characters suited to their types.

No one, for instance, could have made a more typical Goya than Carry Fisher, with her short dark-skinned face, the exaggerated glow of her eyes, the provocation of her frankly-painted smile.