The Rue de Bondi, running out of the Boulevard Saint-Martin, brings us once more to a group of theatres. The Folies Dramatiques stands at number forty. This theatre was started in 1830 by M. Alaux, previously manager of the Dramatic Parnassus on the Boulevard du Temple. It was opened on January 22nd, 1831, under the direction of M. Léopold, who produced at this house a long series of successful pieces. Among these may be mentioned "Robert Macaire" with Frédéric Lemaître in the leading part. When, amidst demolitions and reconstructions, the original Folies Dramatiques came down, the company was transferred to the new building which now stands in the Rue de Bondi. Here were brought out Hervé's "OEil Crevé" and "Petit Faust," Lecoq's "Fille de Madame Angot," Planquette's "Cloches de Corneville," and other works which were soon to become known all over Europe. Vaudevilles are now played at this theatre alternately with operettas. The house contains 1,600 seats. The Ambigu-Comique, built on a sort of promontory which dominates the Boulevard Saint-Martin and the Rue de Bondi, was opened in 1829, in place of the original Ambigu, burnt to the ground two years previously. The new house, which contains 1,600 seats, was inaugurated in presence of the Duchess of Berri, widow of the unhappy nobleman who a few years before was stabbed by Louvois on the steps of the Opera House. In 1837 this theatre was entirely rebuilt under the direction of M. Rochart. Untrue, like so many theatres, to its original name, the Ambigu-Comique was to become associated with nothing in the way of ambiguity, nothing in the way of comedy, but with melodramas, often of a most blood-curdling kind. Here, it is true, was produced the "Auberge des Adrêts," which, in the hands of Frédéric Lemaître, was to be transformed from a serious drama into a wild piece of buffoonery; so that the author of the work, too nervous to attend the performance himself, was almost driven mad when his trusted servant returned home and reported to him the bursts of laughter with which the work had been received. At the Ambigu were brought out some of the best pieces of Alexandre Dumas the elder, Frédéric Soulié, Adolphe Dennery, and Paul Feval.