“There is a greater difference between the characters of the Italian and French comédiennes than there is between our opera and theirs. Education, prejudice, custom and remuneration are the four things which produce the difference existing between the morals and the habits of life of the two. It has been one of our affectations to cast ignominy and infamy upon those who by their talents render our country illustrious. The Italians are very far from having any such ridiculous prejudices. True lovers of art, they are careful not to wither those who produce it. Senesini, Scalsi and Farfalini are beloved and cherished in Rome; not only are they not considered unworthy of burial, but, when one is compelled to render them the last honours, to the sorrow of losing them will be united all that will go to proclaim how much they were esteemed. “It is by these distinctions and these rewards that the Italian comédiennes are inspired with sentiments unknown to our own; they share in the honours of civil society; they are encouraged by the respect in which their talent is held, and, since their profession includes nothing that is not brilliant, they are careful not to render themselves contemptible by debauchery. “Our French comédiennes, on the contrary, seem to wish to profit by the idea which we have of them; they avail themselves of the advantage of being regarded as libertines and, since their art exposes them to contempt, they cease to be restrained by sentiments which would be useless. “It would be ridiculous to demand that Italian actresses should conduct themselves better than other women; it is more than sufficient that, being more exposed than ordinary women, they should, nevertheless, be as virtuous. If after reading my letter you do not agree with me, examine the French and Italian troupes in Paris, and you will perceive living arguments to support me.” V PIERROT There was in the sixteenth century, in Bologna, a sort of improviser, or popular poet, named Giulio-Cesare Croce who sang in the public places to the accompaniment of stringed instruments, which caused him to be given the surname of _Della Lira_. The burden of his songs was a lament on the life and adventures of a fictitious personage named Bertoldo. Perceiving that the crowd listened attentively and took pleasure in his burlesque epic, he conceived the notion to print his songs in prose and to offer them for sale. The public snatched at these books with enthusiasm, a circumstance which led to his increasing the _Life of Bertoldo_ and adding that of his son _Bertoldino_, which latter enjoyed no less success than the former.