which we shall never view; they have delighted nations whose language we do not even understand; they have sung on the banks of the Neva and the Tagus; the Rhine has paid them tribute; they have pantomimed at Madrid, or pirouetted at Stockholm. And many of the spectators form new links of this chain; we are seated next an Italian Marchesa, whose brilliant eyes and softest accents transport us to Naples, and in the next minute we are conveyed to our old lodgings in the Boulevards by the eager, the easy, the voluble Frenchman who lounges on our left.

The 13th of January was the first night of the season, when the direction was announced to be vested in a Committee of Noblemen, with a new deputy, Signor Petracchi, from Milan.

Figaro opened the campaign. The only novelty was Signora Caradori, in the character of the Page. She is young, pretty, and interesting :-her blue eye, her fair complexion, and lightest locks presented an unusual object on this stage of darker and more fiery beauties, and confirmed the report of her German origin. Her voice is very sweet; it has all the delicacy of her frame, and countenance; it steals gently over the ear, winning its way tenderly and gradually, and secure of reaching the heart. Her native diffidence, increased by a first introduction, was not unsuited to the interval between boyishness and manhood-the dawning developement of new emotions, which she was called to personate. Her smile is exquisite, not strange to her features, not assumed for the moment, but innate, genuine, tranquil, pure; it makes you forget the actress, or perhaps, wish that she were not compelled to be one. Camporese was excellent as ever in Susanne, she tripped through her part, the very ideal of a waiting-maid, except that

she sang as no Abigail has yet been heard to do. Madame Ronzi de Begnis deserved more applause, as the Countess, than she obtained: her languid manner, and luxuriant form admirably portrayed the woman of fashion; while her rich and refined tones gave full effect to the music of her part. Her husband, Ambrogetti, was dashing, bold, and restless as are all his representations, and Angrisani, as barber and valet, displayed his usual powers of humour and of voice.

M. Anatole is the new maître de Ballet: his first production was Pandore, which displays invention and taste misemployed on an allegory too serious and severe for the theme of dance. Madame Anatole, who was the heroine, supported the piece with great energy: her figure is grand, yet elegant; finely adapted to the tragedy of pantomime, and remarkably active. There is another new luminary, Mercandotti, a Spanish girl, who has but just appeared above the horizon, but who promises long to shine :-she is eminently beautiful, and her countenance is strikingly expressive. Mlle. Perceval is very pleasing; not an aspiring genius, but graceful, attentive and decorous. Mlle. de Varennes was seen last year, and Albert is also returned, to win an applause that may justly be called extravagant, when compared with that which is bestowed on other portions of the exhibition.

Il Barone de Dolsheim is acceptable to the lovers of Rossini, merely because it is a close imitation of that composer, and in many parts an actual transcript from his works. The story is slight, and turns on the rough benevolence of that Frederick of Prussia, who has been miscalled the Great. The best feature of the piece is the delineation of this monarch attempted by Cartoni, a new, and most meritorious member. His style is very English he is forcible, pathetic, unaffected, quite free

from the continental excess of gesticulation, and yet a real Caratterista, original and impressive. His voice is deep, flexible, melancholy, as agreeable as it is peculiar. Curioni is the principal lover and offender; and Ambrogetti is very powerful in a veteran, who bullies the king, busies himself in every thing, talks to all, makes a noise for all, and slaps every one on the shoulder. There is one Quartett which is of a very superior order to the general material of the work; if it be not a pirated or contraband article, it indicates that Pacini may hereafter be welcomed in a higher capacity than that of a dealer in second-hand notes. We were glad to hail the substitution of Il Turco in Italia, the delightful medley of the real Rossini-so rich, so laughing, so gay, so animated. We can safely recommend it as a specific against all the blue devils which infest our metropolis.

BONS-MOTS AND EPIGRAMS,

BY CELEBRATED MODERN CHARACTERS.
No. 1.

"Ego anditor tantum."-JUVENAL. Sat. 1. 1.

Mr. CANNING, and another gentleman, were looking at a picture of the Deluge; the ark was in the middle distance; in the fore-ground, or, rather, in the fore-sea, an elephant was seen struggling with his fate: "I wonder," said the gentleman, "that the elephant did not secure an inside place in the ark ;"-"He was too late;" replied Canning, "he was detained packing up his trunk."

Mr. Rogers was requested by Lady Holland to ask Sir Philip Francis, whether he was the author of Junius. The poet approached the knight, "Will you, Sir Philip, -will your kindness excuse my addressing to you a single question ?"-" At your peril, sir!" was the harsh and the laconic answer. The intimidated bard retreated to his friends, who eagerly asked him the result of his application. "I don't know," he answered, "whether he is Junius; but, if he be, it is certainly Junius Brutus."

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My dear Tom," said the elder Sheridan to his son, "I wish you would take a wife.”—“ I have no objection, sir; whose wife shall I take?"

A party was very uncharitably discussing Mr. Banks' History of Rome ;-" Really," said Jekyll, "you all appear to be very hyper-critical and censorious; for my part, I like his Rome-better than his company.'

"What must I do," said the Hon. J. W. Ward to Lord Byron, "What must I do, to be re-whigged?""You must first," answered the noble poet, "be re-warded."

ON. MR. ROGERS' POEM OF HUMAN LIFE.

Vitæ summa brevis spem nos vetat inchoare longam.

Cries Sam, "All human life is frail,

E en mine may not endure;
So lest it suddenly should fail
I'll hasten to insure."

At Morgan's office he arrives,

Reckoning without his host,

"Avaunt!" exclaims the judge of lives,
"We can't insure a ghost."

"Zounds! its my poem-not my face;
Listen, while I recite it."

Quoth Morgan "Try some other place
We, Sir, can't underwrite it."

ON THE HON. J. W. W

BY S. ROGERS.

W―d has no heart they say; but I deny it,
He has a heart-He gets his speeches by it.

"Have you read Pybus's Epistle to the Emperor Paul?" said a gentleman to Rogers. "Yes."-" What do you think of it?" "There is only one good verse in the whole poem." "Which is that?" "Give to St. Petersburgh one Peter More"-and I wish he was there, with all my heart."

In Madame de Stael's novel of Delphine, the authoress is supposed to have designed her own character in the heroine, and that of Talleyrand, in the person of M. de Vernon. Talleyrand was asked, if he had read the novel, "Non, Monsieur, mais j'ai oui dire que nous sommes tous les deux déguisés en femme.”

It was observed to the Rev. Sidney Smith, that Lord must have felt himself considerably astonished