It is a great shame that her father obliges her to act on the stage in very inferior parts, when she ought only to exhibit on the tripod. I assisted at an _Accademia_ given by her one evening at the _Teatro della Valle_, when she improvised on the following subjects, which were proposed by various members of the audience: 1st, _La morte d'Egeo_; 2dy, _La Madre Ebrea_; 3rd, _Coriolano alle mura di Roma_; 4th, _Ugolino_; 5th, _Saffo e Faone_; 6th, in the Carnaval with the following _intercalario: "Maschera ti conosco, tieni la benda al cor_!" which _intercalario_ compels a rhyme in _osco_, a most difficult one. The _Madre Ebrea_ and _Coriolano_ were given in _ottava rima_ with a _rima obbligata_ for each stanza. The _Morte d'Egeo_ was given in _terza rima_. Her versification appeared to be excellent, nor could I detect the absence or superabundance, of a single syllable. She requires the aid of music, chuses the melody; the audience propose the subject, and _rima obbligata_, and the _intercalario_, where it is required. In her gestures, particularly before she begins to recite, she reminded me of the description given of the priestess of. Delphi. She walks along the stage for four or five minutes in silent meditation on the subject proposed, then suddenly stops, calls to the musicians to play a certain symphony and then begins as if inspired. Among the different rhimes in _osco_, a gentleman who sat next to me proposed to her _Cimosco_. I asked him what _Cimosco_ he meant; he replied a Tuscan poet of that name. For my part, I had never heard of any other of that name than the King _Cimosco_ in the _Orlando Furioso_, who makes use of fire-arms; and Rosa Taddei was, it appears, of my opinion, since this was the _Cimosco_ she chose to characterise; and she made thereby a very neat and happy comparison between the gun of Cimosco and the arrow of Cupid. This talent of the _improvisatori_ is certainly wonderful, and one for which there is no accounting. It appears peculiar to the Italian nation alone among the moderns, but probably was in vogue among the ancient Greeks also. It is certain that Rosa Taddei gives as fine thoughts as are to be met with in most poets, and I am very much tempted to incline to Forsyth's opinion that Homer himself was neither more nor less than an _improvisatore_, the Greek language affording nearly as many poetic licences as the Italian, and the faculty of heaping epithet on epithet being common in both languages.