was a pupil of Signor Salvini. Virginia Marini is well considered in
Italy, and used to be the leading lady in the Salvini troupe. She now
directs a company of her own, and has been succeeded in her former
position by the estimable Signora Piamonti, whom Salvini declares to
be one of the most versatile artistes he has ever known, equally good
in the highest tragedy or the liveliest farce. Her Dalilla in _Samson_
was much admired in America, but her rendering of the _role_ of
Francesca di Rimini in the tragedy of that name is perhaps her
greatest performance.

Signora Sedowsky is undoubtedly the greatest tragic actress of Italy.
She is perhaps less stately and grand than Ristori, but in fire and
depth of feeling she greatly surpasses this eminent tragedienne. Her
Phedre is pronounced by excellent judges equal to that of Rachel.
Signora Sedowsky was born at Naples, and is the proprietress of three
large theatres in that city. She is the wife of a wealthy nobleman.
Notwithstanding her rank, she still keeps on the stage, but is
received with honor in the first society. She has never acted out of
Italy, and very rarely beyond the walls of Naples.

The superlative merits of Signora Ristori are so well known in America
that the mere mention of her name is sure to recall some of the most
delightful evenings ever spent by many of my readers. Her genius and
beauty, her majesty and glorious method of declamation, have won her
a foremost rank in her profession, and her virtues and nobility of
conduct the esteem of all who have ever known her. There are indeed
few women more estimable than Adelaide Ristori, Marchioness Capranica
del Grillo. It may be a matter of surprise to some who are not aware
of the fact when I tell them that in Italy Ristori is more famous in
comedy than in tragedy. She is inimitable in such parts as the hostess
in Goldoni's clever comedy of _La Locandiera_.

Of all Italian actors, Gustavo Modena was the most renowned. He is to
the stage of his native land what Garrick was to that of England, and
his conception of the various parts in classic drama, his "points,"
and even his dress, have become traditional, and are almost invariably
retained by his followers. I never saw him act, but I once heard him
recite in a private _salon_ his famous _role_ of Saul in Alfieri's
tragedy of that name. In person he was tall and largely built, His
countenance was not prepossessing, and, like Michael Angelo, he had a
broke