sufficient for every theatrical purpose, may not originally have been a _willing_ one. Nothing, strange to say, has been so fatal to the attainment of the highest musical excellence, as too great a facility and richness of organ. By it Catalani was led astray--by it sundry contemporary warblers----but "comparisons are odious." We are discreet as well as reserved. Enough, that, under Signor Bordogni of Paris, Miss Kemble went through all that severe course of study, to which too few of her countrywomen will subject themselves. She was first heard in London in 1835, where she sang at a few concerts. Though then weighed down by a consciousness of power, with means as yet inadequate for its utterance, though restrained by an excess of timidity, it was even then to be seen that a great dramatic artist was there. We remember two words from the great duet in "Semiramide," which we heard her sing with Tamburini--merely an exulting "_O gioja_!"--but they said enough to make us sure of what would come. At the end of that season, after appearing at the York Festival, Miss Kemble was heard of no more in England. But ere long, rumours came from Germany of an English lady turning wise heads by her dramatic truth and energy of feeling; and late in the autumn of the year 1838, we were told that another of the Kembles had entered her proper arena, the stage--at no less distinguished a place than the Teatro della Scala, Milan. [Illustration: Adelaide Kemble _In the Character of_ NORMA. London. Tilt & Bogue, 86, Fleet Street.]