heel." But only to encounter a lamentable break-down. It is pretty evident whom M. Reybaud had in view when making this sketch, here greatly abridged, but which is very exact and amusing in its details, and must be particularly gratifying to Alexander Dumas. He then takes up the painters, and exposes the system of mutual puffing and hired criticism. The comedian has his turn: "But lately he reigned and laid down the law. Each note of his voice was a priceless treasure; his gestures were current coin. For him the bank had not enough notes, nor fame enough trumpets. The mob crowded round him, when he walked abroad, as round a prince of the blood. Vienna and Petersburg disputed him; the two worlds were his domain. How believe that such an idol should one day be hurled from his pedestal? Nevertheless it came to pass. He beheld vacant benches and an empty treasury. He had been improvident, and misery sat down by his hearth. Perhaps he then remembered how he had defied fate, and squandered wealth; how he had abused every thing--his health and his talent, the public and himself. Had he not given into that vein of falsehood and monstrosity, which made the theatre a school of perversity, and art an instrument of disorder? Had he not degraded the stage by creakings of snuff-boxes and misplaced hiccups? Had he not ridiculed, in a celebrated type, instincts the most sacred and worthy of respect? Such excesses escape not punishment." There is much truth in this. But is it a fact, that Frederick Lemaitre (here evidently selected as the type of his profession) has thus suddenly lost his popularity and sunk into poverty? The last time we saw his name in a French theatrical feuilleton, his successful appearance in a new piece was recorded. Has he not also, since the revolution, drawn crowds to witness his performance of Robert Macaire, the piece to which M. Reybaud more particularly alludes, and which was prohibited under the monarchy, because Lemaitre, in acting the part of the swindler Robert, used to make himself up to resemble Louis Philippe, and introduced unpleasant hits at the King of the French? There is no question, however, that Lemaitre is an instance of the prostitution of great talents. With more respect for himself and for the public, he might have aspired to a high place in the profession, with one of whose lower walks he has all his life remained contented.