his most popular pieces, ‘Adélaïde Du Guesclin,’ has ever been played since it was given at the Théâtre Français (spectacle gratis), 1822, on occasion of the baptism of the Duc de Bordeaux, whom we now better know as the Comte de Chambord, and who knows himself only as ‘Henry V., Roi de France et de Navarre.’ One of Voltaire’s favourite stage pupils was an actor named Paulin, who played a tyrant in the Lausanne company. Voltaire had great hopes of him, and he especially hoped to make much of him as Polifonte, in Voltaire’s tragedy ‘Mérope.’ At the rehearsals, Voltaire, as was customary with him, overwhelmed the performers with his corrections. He sat up one night, to re-write portions of the character of the tyrant Polifonte, and at three in the morning he aroused his servant and bade him carry the new manuscript to Paulin. ‘Sir,’ said the man, ‘at such an unseasonable hour as this M. Paulin will be fast asleep, and there will be no getting into his house.’ ‘Go! run!’ exclaimed Voltaire, in tragic tones. ‘Know that tyrants never sleep!’ Some of the French private theatres of the last century were singular in their construction. We know that the theatre of Pompey was so constructed that, by ingenious mechanism, it could form two amphitheatres side by side or could meet in one extensive circus. On a smaller scale, the salon of the celebrated dancer D’Auberval could be instantaneously turned into a private theatre, complete in all its parts. Perhaps the most perfect, as regards the ability of the actors, as well as the splendour of the house, audience and stage, were the two private theatres at Saint-Assise and Bagnolet, of the Duke of Orleans and Madame de Montesson. None but highly-gifted amateurs trod those boards. The Duke himself was admirable in peasants and in characters abounding in sympathies with nature. Madame de Montesson was fond of playing shepherdesses and young ladies under the pleasures, pains, or perplexities of love; but, with much talent, the lady was far too stout for such parts. It might be said of her, as Rachel said of her very fat sister, whom she saw dressed in the costume of a shepherdess; ‘Bergère! tu as l’air d’une bergère qui a mangé ses brebis!’ Out of the multitude of French private theatres there issued but one great actress, by profession, the celebrated Adrienne Lecouvreur; and _she_ belonged, not to the gorgeous temple of Thespis in the palaces of nobles, but to a modest stage behind the shop of her father, the hatter; and latterly, to one of more artistic pretensions in the courtyard attached to the mansion of a great lawyer whose lady had heard of Adrienne’s marvellous talent, and, to encourage it, got up a theatre for her and her equally young comrades, in the _cour_ of her own mansion. The acting of the hatter’s daughter, especially as Pauline, in Corneille’s ‘Polyeucte,’ made such a sensation that the jealous Comédie Française cried ‘_Privilège!_’ and this private theatre was closed, according to law.