t's full
content, we look around amongst all the range of actors to find some
approach to his inimitable talent, not being so unreasonable as to hope
to discover his equal, but our search ends in disappointment, we seek in
vain for the representatives of Perlet, Odry, Laporte, and Potier, to
whose comic powers we are indebted for many a laughing hour, but they
are now replaced, as well as many other of our old acquaintances, by
substitutes who are but sorry apologies for those we have lost; however,
although the French theatre has certainly retrograded in respect to its
dramatics personae, it has gained surprisingly with regard to scenery,
decorations, and costumes, which very considerably enhance the interest
of a theatrical performance, particularly when it is historical, and it
is a satisfaction to know that no pains are spared to render the drapery
as exact as possible to that worn at the period the piece is intended to
represent; thus you have the most accurate peep into olden times that
can possibly be afforded, and Paris offers such extreme facilities for
ascertaining what description of dress was adopted at any particular
age, by means of their immense collection of engravings, and written
descriptions, contained in their old books, and manuscripts, which are
freely produced to any individual on making the proper application. Of
these advantages the managers of the theatres avail themselves to the
utmost extent, which enables them to be extremely correct, not only with
regard to the habiliments, but also the scenery, and all the
_accessoires_ are rendered strictly in keeping with the century in which
the events recorded have occurred.

The Italian Opera in Paris is considered to be managed with great
perfection, the company is much the same with regard to the principal
singers as our own, consisting of Grisi, Persiani, Albertazzi, Lablache,
Tamburini, Rubini, Mario, etc., as they can be obtained, according to
their engagements in London or elsewhere, and the operas performed are
also similar, therefore any description of either would be superfluous;
altogether, the enjoyment afforded is not so great as at our own, as no
ballet is given, and the coup-d'oeil is not so splendid as in ours.
The Theatre de la Renaissance is devoted to the performance of the
Italian Opera, it is situated in the middle of a small square, opposite
the Rue Mehul, which turns out of the Rue Neuve des Petits Champs, from
which it is seen t