agedy and comedy in
the same entertainment. There are at present about eighty different
troupes of actors in Italy, including those devoted to the marionnette
and dialect performances. The principal are the "Salvini," "Ristori,"
"Majeroni," "Sedowsky," and "Rossi" for tragedy, the "Bellotti Bon"
for high comedy, and the "De Mestri" for farce and vaudeville. The
"Ristori," "Salvini" and "Rossi" troupes have been the round of the
world. The "Bellotti Bon" has, I believe, never quitted Italy. It is a
remarkable combination of well-trained actors, devoted exclusively
to the representation of modern society plays and dramas, mostly
translated or adapted from the French. Bellotti-Bon, the director,
is not excelled in his own line even on the stage of the Theatre
Francais. His company is rich, and its scenery and dresses are
tasteful. The late Signora Cazzola, formerly the leading lady of this
troupe, was perhaps the best high-comedy and dramatic actress Italy
has produced. Signer Salvini informed me that Alexandre Dumas _fils_
told him he preferred this lady's interpretation of the _role_ of
Marguerite Gauthier (Camille) in _La Dame aux Camelias_ to that of
Madame Doche, who created the part. She produced a great effect when
the dying Camille looks at herself in the glass for the first time
after her long illness. Instead of screaming or fainting, as is usual
with most actresses who undertake the character, Signora Cazzola stood
for a long time gazing intently at the havoc disease had wrought upon
her lovely countenance. Then, with a deep sigh and an expression
of intense agony, she turned the mirror with its back toward her,
implying that she could never again endure the pain of seeing herself
reflected upon its truth-telling surface. On the toilette-table was
a vase full of camellias--those beautiful but scentless flowers which
were emblematic of her brilliant but artificial life. Taking one of
these in her hand, she plucked it to pieces leaf by leaf, and when
the last petal fell to the ground went quietly back to her bed, there
hopelessly to await the coming on of death. Her parting with Armand
was very pathetic, and her death, although harrowing and true to
Nature, was not revolting, its horrors being moderated by artistic
good sense and delicacy. This great artiste died young, worn out by
the strong emotions she not only represented, but actually felt.

Signora Cazzola, together with Virginia Marini and Isolina Piamonti,