ed by the marquis of Normanby, then English ambassador to the
court of Tuscany, and this enlightened nobleman strongly encouraged
him to extend his repertory of Shakespearian characters. In 1865
occurred the sixth centenary of Dante's birthday, and the four
greatest Italian actors were invited to perform in Silvio Pellico's
tragedy of _Francesca di Rimini_, which is founded on an episode in
the _Divina Commedia_. The cast originally stood on the play-bills
thus: Francesca, Signora Ristori; Lancelotto, Signor Rossi; Paulo,
Signor Salvini; and Guido, Signor Majeroni. It happened, however, that
Rossi, who was unaccustomed to play the part of Lancelotto, felt timid
at appearing in a character so little suited to him. Hearing this,
Signor Salvini, with exquisite politeness and good-nature, volunteered
to take the insignificant part, relinquishing the grand _role_ of
Paulo to his junior in the profession. He created by the force of his
genius an impression in the minor part which is still vivid in
the minds of all who witnessed the performance. The government of
Florence, grateful for his urbanity, presented him with a statuette of
Dante, and King Victor Emmanuel rewarded him with the title of knight
of the Order of the Saints Maurice and Lazarus. Later he received from
the same monarch a diamond ring, with the rank of officer in the Order
of the Crown of Italy. In 1868, Signer Salvini visited Madrid, where
his acting of the death of Conrad in _La Morte Civile_ produced such
an impression that the easily-excited Madrilese rushed upon the stage
to ascertain whether the death was actual or fictitious. The queen,
Isabella II., conferred upon the great actor many marks of favor,
and so shortly afterward did King Louis of Portugal, who frequently
entertained him at the royal palace of Lisbon.

Signor Salvini's recent visit to America I need scarcely mention: its
triumphs are still fresh in the memory of the public, and the only
drawback to its complete success was the unhappy fact that the eminent
artist did not appeal to his audiences in their own language.

I know of nothing more remarkable than the difference which exists
between the Salvini of the stage and the Salvini of private life, the
one so imposing, impetuous and fiery, the other so gentle, urbane, and
even retiring. He is a gentleman possessing the manners of the good
old school--courtly and somewhat ceremonious, reminding one of those
Italian nobles of the sixteenth