itself by preferring a humane to an inhuman power. The most splendid
illustration of this kind of homage was the career of Jenny Lind in
America. It was rather the fashion among the _dilettanti_ to
undervalue her excellence as an artist. A popular superficial
criticism was fond of limiting her dramatic power to inferior roles.
She was denied passion and great artistic skill; she was accused of
tricks. But, even had these things been true, what a career it was! It
was unprecedented, and can never be repeated. Yet it was, at bottom,
the success of a saint rather than that of a singer. Had she been a
worse or better artist the homage would have been the same. If the
public--and it is a happy fact--can love the woman even more than it
admires the artist, her triumph is assured.

We look upon the enthusiasm for Ristori by no means as an unmingled
tribute to superior genius. We make no question of her actual womanly
charms. Even if appearance of generosity, of simplicity, and sweetness
were only deep Italian wile, and assumed, upon profound observation
and consideration of human nature and the circumstances of Rachel's
position in Paris, merely for the purpose of exciting applause, that
applause would still be genuine, and would prove the loyalty of the
public mind to what is truly lovely. It was our good-fortune to see
Ristori in Italy, where, for the last ten years, she has been
accounted the first Italian actress. She has there been seen by all
the travelling world of Europe and America. It is not possible that so
great a talent, as the Parisians consider it, could have been so long
overlooked. We well remember Ristori as a charming, natural, simple
actress; but of the surpassing power which Paris has discovered
probably very few of us retain any recollection.