ich has been described as "a fearful
apparition of a White Lady dressed in thin and flowing garments, moving
slowly and silently around and around the fountain to the terror of a
corporal standing near the entrance to the silver chamber," M. Minutoli
proves it to have been an old woman once a cook at the chateau who has
since lived there and is known, by the nickname of Black Minna.

* * * * *

[Illustration: MRS. FANNY KEMBLE READING SHAKSPEARE AT THE ST. JAMES'
THEATER.]

MRS. FANNY KEMBLE'S "READINGS" IN LONDON.

MRS. KEMBLE has been giving a series of dramatic readings in London, and
her success in the scene of her early triumphs appears to have been as
decided as it was in New York. She was never in a situation more
agreeable to her temper and ambition than that represented in the above
engraving, which we have copied from one in _The Illustrated News_. She
is triumphant, and "alone in her glory."

Mrs. Kemble is now about forty years of age. Gentleness is acquired in
three generations; she is removed but two from the most vulgar condition;
and by the mother's side but one. The Kembles of the last age were
extraordinary persons. John Philip Kemble and Mrs. Siddons had both
remarkable genius, and Charles Kemble has been an actor of consummate
talent. Whatever intellect remains in the family is in his children; one
of whom is a man of learning and refinement, another a woman of some
cleverness in musical art, and Frances Anne, of whom we write more
particularly.

The first appearance of Miss Kemble on the stage was on the evening of
the 5th October, 1829, at Covent Garden, and was hazarded with the view
of redeeming the fortunes of the theater. The play was "Romeo and
Juliet," and the heroine was sustained by the debutante with unexpected
power. Her Siddonian countenance and expressive eyes were the general
theme of admiration; while the tenderness and ardor of her action went to
the soul of the spectator, and her well-instructed elocution satisfied
the most critical ear. It was then, also, that her father took the part
of "Mercutio," for the first time. It is recorded that he earned by it
thirteen rounds of applause. Nor was its merit overrated. It was then,
and continued to be, a wonderful impersonation of the poetic-comic ideal.
On the 21st of the same month of October, the performers of Covent Garden
presented to Miss Kemble a gold bracelet as a testimony of the services
wh