At last, the evening arrived, and the dress was finished by eleven o'clock; by midnight I entered Madame Lafond's house. This costume of mine was then almost unknown in France: the jacket and leggings were of red velvet, embroidered with gold; the _fustanelle_, as white as snow, had not been robbed of a single inch of its proper width; the dazzling silver arms were marvellously wrought, and, above all, the originality of the head-dress drew all eyes upon me. I guessed I should make a triumphant sensation, but had no idea of the method in which it would be expressed. I had not taken ten steps into the room before a young woman, clad as a Roman priestess, crowned with verbena and cypress, made her apologies to her partner and left him to come to me. She then led me apart into a small boudoir and, making me sit down, remained standing in front of me and said-- "Now, Monsieur Dumas, you are going to teach me how to put on a turban like that; to-morrow I am acting Desdemona with Zucchelli and you know how those Italian devils array themselves; I should, at any rate, like him to have a head-dress like yours, it would work me up!" The Roman priestess was Madame Malibran, of whom I shall soon have much more to say and of whom I have already spoken twice in connection with the first representation of _Henri III._, where she hung over the edge of her box on the third tier throughout the fifth act; and also in connection with Dorval, into whose arms she ran to fling herself after a representation of _l'Incendiaire._ Yes, it was Madame Malibran, the incomparable artist, who alone, perhaps, of all artists, wedded the drama to song, strength to grace, joy to sadness, to a degree no one has ever attained. Alas! she too died young, and is now but a shadow on our horizon! Shade of Desdemona and of Rosine, of la Somnambule and of Norma, a dazzling, harmonious, melancholy shadow! that those who saw the living reality can still revive by the aid of memory, but who is merely a phantom for those who saw her not! She died when still young, but thereby she, at any rate, carried away with her into the tomb all the advantages that are to be derived from premature death; she died beautiful, loving and beloved, at the zenith of her triumph, girt with glory, crowned with laurels and enshrouded in fame! But theatrical artists leave nothing that can be transmitted to posterity, no traces of the purity of their singing, the grace of their movements or the passion of their gestures--nothing but a reflection which remains in the memory of their contemporaries. It therefore remains for us, painters or poets, who do leave something behind us after we have gone; to us, privileged children of Art, who possess the faculty of reproducing the form or the spirit of material and perishable things through the medium of our brushes and pens; to whom God has given a mirror for a soul, which remembers instead of forgets; it rests with us