The rise of Adelaide Ristori spelled the decline of the great Rachel. In her earnestness, in her choice of plays, in the quiet dignity of her life and nature, Ristori is recalled by that later great Italian, Duse. And just as Duse invaded Paris and rivaled the reigning queen of the stage there, so (only more successfully) did Ristori when she replaced Rachel in French esteem. Ristori’s parts, however, suggest rather Bernhardt, though in general all four actresses--Rachel, Ristori, Bernhardt and Duse--have worked in the same _metier_. Ristori’s great parts were Medea, Francesca, Myrrha, Lady Macbeth, Phédre, Marie Stuart and Queen Elizabeth. Janauscheck, “the last of the actresses of the ‘grand style,’” born in Prague and for years a successful _tragedienne_ in Germany, anticipated Modjeska by her adoption of America and the English tongue. She too was an heroic woman, who impressed her generation by the intensity and sincerity of her acting, her wonderful voice, and the dignity she lent her profession. Her best parts were in _Bleak House_, _Brünnhilde_, _Medea_ and _Marie Stuart_. Adelaide Neilson, a womanly and gracious personality, an ideal Juliet, and a Shakspearean actress who as Viola, Imogen and Rosalind foreshadowed and combined many of the merits of Modjeska, Rehan and Marlowe, died in the ripeness of her youth and ability. [3] _The Wallet of Time._ [4] “All these things that I have known only in the telling--all these journeys, these changing skies, these adoring hearts, these flowers, these jewels, these embroideries, these millions, these lions, these one hundred and twelve rôles, these eighty trunks, this glory, these caprices, these cheering crowds hauling her carriage, this crocodile drinking champagne--all these things, I say, astonish, dazzle, delight, and move me less than something else which I have often seen: this--