Turning from eccentric actors to eccentric pieces, there may be reckoned among the latter a piece called ‘Venez,’ which was first produced, a few years ago, at Liége. A chief incident in the piece is where a pretty actress, seeking an engagement, is required by the young manager, as a test of her competency, to give to the above word as many varied intonations as might be possible. One of these proves to be so exquisitely seductive that the manager offers a permanent engagement for life, which is duly accepted. From Liége to Compiègne is a long step, but it brings us to another eccentricity. Nine years ago, at one of the Imperial revels there, certain of the courtiers and visitors acted in an apropos piece, named ‘Les Commentaires de César.’ The Prince Imperial represented the Future, without having the slightest idea of it. Prosper Mérimée, Academician, poet, and historian, acted the Past, of which he had often written so picturesquely. In the more farcical part which followed the prologue, the most prominent personage was the Princesse de Metternich (wife of the Austrian ambassador), who played the part of a French cabman out on strike. She tipped forth the Paris slang, and sang a character song, with an audacity which could not be surpassed by the boldest of singing actresses at any of the popular minor theatres. The august audience were convulsed at this manifestation of high dramatic art--in its way! These fêtes led to much extravagance in dress, and to much contention thereon between actresses and managers.