The Comédie Française sometimes does weaker things than in keeping M. Talbot. Last autumn,[8] for instance, it was really depressing to see Mademoiselle Dudley brought all the way from Brussels (and with not a little flourish either) to "create" the guilty vestal in "Rome Vaincue." As far as the interests of art are concerned, Mademoiselle Dudley had much better have remained in the Flemish capital, of whose language she is apparently a perfect mistress. It is hard, too, to forgive M. Perrin (M. Perrin is the present director of the Théâtre Français) for bringing out "L'Ami Fritz" of M. Erckmann-Chatrian. The two gentlemen who write under this name have a double claim to kindness. In the first place, they have produced some delightful little novels; everyone knows and admires _Le Conscrit de 1813_; everyone admires, indeed, the charming tale on which the play in question is founded. In the second place, they were, before the production of their piece, the objects of a scurrilous attack by the "Figaro" newspaper, which held the authors up to reprobation for having "insulted the army," and did its best to lay the train for a hostile manifestation on the first night. (It may be added that the good sense of the public outbalanced the impudence of the newspaper, and the play was simply advertised into success.) But neither the novels nor the persecutions of M. Erckmann-Chatrian avail to render "L'Ami Fritz," in its would-be dramatic form, worthy of the first French stage. It is played as well as possible, and upholstered even better; but it is, according to the vulgar phrase, too "thin" for the locality. Upholstery has never played such a part at the Théâtre Français as during the reign of M. Perrin, who came into power, if I mistake not, after the late war. He proved very early that he was a radical, and he has introduced a hundred novelties. His administration, however, has been brilliant, and in his hands the Théâtre Français has made money. This it had rarely done before, and this, in the conservative view, is quite beneath its dignity. To the conservative view I should humbly incline. An institution so closely protected by a rich and powerful State ought to be able to cultivate art for art.