becoming more and more aware of the merits of his former pupil. She was transferred to the Français to play the leading characters in tragedy, at a salary of 4,000 francs a year. M. Poirson did not hesitate to cancel her agreement with him. Indeed, he had been troubled with thinking how he could employ his new actress. She was not an _ingénue_ of the ordinary type; she could not be classed among soubrettes. There were no parts suited to her in the light comedies of Scribe and his compeers, which constituted the chief repertory of the Gymnase. It was on June 12, 1838, that Rachel, as Camille, in "Horace," made her first appearance upon the stage of the Théâtre Français. The receipts were but seven hundred and fifty francs; it was an unfashionable period of the year; Paris was out of town; the weather was most sultry. There were many Jews in the house, it was said, resolute to support the daughter of Israel, and her success was unequivocal; nevertheless, a large share of the applause of the night was confessedly carried off by the veteran Joanny, who played Horace. On June 16th Rachel made her second appearance, personating Emilie in the "Cinna," of Corneille. The receipts fell to five hundred and fifty francs. She repeated her performance of Camille on the 23d; the receipts were only three hundred francs! the poorest house, perhaps, she ever played to in Paris. She afterward appeared as Hermione in "Andromaque," Aménaide in "Tancrède," Eriphile in "Iphigénie," Monime in "Mithridate," and Roxane in "Bajazet," the receipts now gradually rising, until, in October, when she played Hermione for the tenth time, six thousand francs were taken at the doors, an equal amount being received in November, when, for the sixth time, she appeared as Camille. Paris was now at her feet. In 1839, called upon to play two or three times per week, she essayed but one new part, Esther, in Racine's tragedy of that name. The public was quite content that she should assume again and again the characters in which she had already triumphed. In 1840 she added to her list of impersonations Laodie and Pauline in Corneille's "Nicomède" and "Polyeucte," and Marie Stuart in Lebrun's tragedy. In 1841 she played no new parts. In 1842 she first appeared as Chimène in "Le Cid," as Ariane, and as Frédégonde in a wretched tragedy by Le Mercier.