M. Gautier is well known to be a man of wit and talent; in the passages from his pen, whose spirit and letter we have here done our best to render, he gives proof of keen observation and good feeling. But whilst implying his sympathy with the musical artist, who, like Tantalus, beholds but may not partake, and whose admittance to the saloons of good society is as a show, not as a guest, he forgets even to glance at the causes of such exclusion, necessary as a rule, but doubtless admitting of exceptions. He omits reference to the laxity of usages and morals which, although perhaps less so than formerly, is still the frequent characteristic of theatrical and musical professors, and which causes them to be, as he shows, kept at arm's length in good French society. In this country--in such matters the least facile and tolerant of any--there is still greater scruple of admitting singers and actresses, however eminent their talent, to the intercourse even of those classes into which, but for their profession, they would have a right to admission. Exceptions have occasionally, and with much propriety, been made, and royalty itself has been known to set the example. But only under the peculiar circumstances of Madame de Rossi's eventful career--only in presence of a reputation which the breath of scandal has never dared assail, and of social qualities and graces which render her an acquisition to any circle--can it occur to a singer to pass from the boards of the Opera to the most exclusive of London's saloons, to be welcomed as an equal by those who, a few minutes previously, applauded her as an actress.