As to Rossi's Lear, it is not to be criticised. Words fail when the heartstrings are thrilled to trembling and to tears. The pathos of Lear's recognition of Cordelia was past the power of words to describe. He stands at first gazing in vague bewilderment at the face of his child, then into the darkened and troubled gaze steals anew the light of reason and of recognition: unutterable sorrow, inexpressible remorse, sweep across the quivering features, and with an inarticulate sob Lear would fain sink on his knees at his wronged daughter's feet to pray for pardon. That people rose and left the house in a very passion of tears is the fittest criticism that can be bestowed upon this personation. The list of the Shakesperian characters closed with Romeo. Rossi was the divinest of lovers, in spite of his forty years and his stalwart proportions, and the balcony scene was an exquisite love-duet that needed not the aid of music to lend it sweetness. But in the Italian version the play was so cut and garbled that there could be little pleasure in listening to it for any one familiar with the original. Outside of his Shakespearian répertoire, Rossi has appeared in only two plays--the _Kean_ of the elder Dumas, and _Nero_, a tragedy by Signer Cosso, The first, originally written for Lemaître, is an ill-constructed, improbable melodrama. But it contains one grand scene--namely, that where Kean, whilst playing Hamlet, goes mad upon the stage; and this scene Rossi renders superbly. As to Nero, it is marvelous to witness the complete eclipse of the refined, accomplished gentleman and intellectual actor behind the brutal physiognomy of the wicked emperor. It is Hamlet transformed into a prize-fighter. In person, Signor Rossi is less strikingly handsome than is his rival, Salvini, but he possesses a singularly attractive and pleasing countenance. He is a Piedmontese, blue-eyed and fair-complexioned, with chestnut hair, the abundant locks of which are just touched with gray. He is tall and finely proportioned, with the chest of a Hercules and the hands and feet of a duchess. Off the stage he is peculiarly pleasing in manner, and is said to be a noble-hearted and generous gentleman, as well as an amiable and genial companion, singularly free from conceit and delighting in his art. L.H.H. BISHOP THIRLWALL'S PRECOCITY.