The particularly dramatic part of the blind Posthumia was the occasion of a creation which will rank among the most extraordinary in the brilliant career of that great operatic tragedienne Lucy Arbell. Costumed with perfect esthetic appreciation in a beautiful dark robe of iron gray silk, with her face artificially aged but beautiful along classic lines, Lucy Arbell moved and stirred the audience profoundly, as much by her impressive acting as by the deep velvety notes of her contralto voice. Mme. Guiraudon in her scene in the second act achieved a great personal success, and never so much as yesterday did the Paris critic regret that this young, exquisite artist had abandoned prematurely her career as an artist and consents to appear hereafter but rarely and ... at Monte Carlo. Mme. Eliane Peltier (the High Priestess) and Mlle. Doussot (Galla) completed excellently a female cast of the first order. Furthermore the male parts were no less remarkable or less applauded. M. Muratore, a grand opera tenor of superb appearance and generous voice, invested the rôle of Lentulus with a vigor and manly beauty which won all hearts, and which, in Paris as at Monte Carlo, will ensure him a brilliant and memorable triumph. M. J. F. Delmas with his clear diction and lyrical declamation, which is so properly theatrical, was an incomparable Fabius and was no less applauded than his comrades from the Opéra, Muratore and Noté. The latter in fact was marvellous in the part of the slave Vestapor whose wild imprecations resounded to the utmost in his great sonorous baritone. Finally, M. Clauzure, whose Roman mask was perfect, achieved a creation--the first in his career--which places this young Premier Prix of the Conservatoire on an equal footing with the famous veterans of the Paris Opéra beside whom last night he fought the good fight of art. The chorus, both men and women, patiently trained by their devoted master M. Louis Vialet, and the artists of the Opéra, who anew affirmed their mastery and homogeneity, were irreproachable under the supreme direction of the master Leon Jehin. All the composers whose works he conducts justly load him down with thanks and felicitations, and his talent and indefatigable power are acclaimed constantly by all the dilettanti of Monte Carlo. M. Visconti, who in his way is one of the indispensable artistic mainsprings of the Théâtre de Monte Carlo, painted five scenes of _Roma_, better five masterly paintings, which were greatly admired and which won great admiration and prolonged applause. His "Forum" and "Sacred Grove" are among the most beautiful theatrical paintings ever seen here. As for M. Raoul Gunsbourg, the stage manager in whose praise it is henceforth superfluous to speak, it is sufficient to say that _Roma_ is one of the scores he has put on with the most pleasure and the most sincere veneration. That is to say that he brought to bear on it all his care, and all his dictatorial and artistic mind.