The internal arrangements of the _Teatro del Principe_ are very comfortable. The performances consist of dramas, comedies, _saynetes_, and interludes. I saw a piece by Don Antonio Gil y Zarate, entitled "Don Carlos el Heschizado," and constructed entirely after the Shakspearian model. Don Carlos was very like the Louis XIII. of Marion de Lorme, and the scene of the monk in the prison is imitated from the scene of the visit which Claude Frollo makes Esmeralda in the dungeon where she is awaiting her death. The character of Carlos was sustained by Julian Romea, a most talented actor, who has no rival that I know, except Frederick Lemaître, in a totally opposite style: it is impossible for any one to carry the power of illusion further, or remain more true to nature. Mathilda Diez, also, is a first-rate actress; she marks all the various shades of a character with exquisite delicacy, and with an astonishing degree of nice appreciation. I have only one fault to find with her, and that is, the extreme rapidity of her utterance, which, however, is no fault in the opinion of Spaniards. Don Antonio Guzman, the _gracioso_, would not be out of place on any stage. He reminded me very much of Legrand, and, at certain times, of Arnal. Fairy pieces, also, with dances and divertissements, are sometimes played at the _Teatro del Principe_; I saw one of this description, entitled "La Pata de Cabra:" it was an imitation of "Pied de Mouton," that used to be played at the Théâtre de la Gaieté. The choreographic portions were remarkably poor; their first-rate _danseuses_ are not even as good as the ordinary _doubles_ at the Opera; but, on the other hand, the supernumeraries display a great amount of intelligence, and the "Pas des Cyclopes" was executed with uncommon neatness and precision. As for the _baile national_, such a thing does not exist. At Vittoria, Burgos, and Valladolid, we had been told that the good _danseuses_ were at Madrid; in Madrid we are informed the true dancers of the cachuca exist only in Andalusia, at Seville. We shall see; but I am very much afraid that in the matter of Spanish dancers, we must depend upon Fanny Elssler, and the two sisters Noblet. Dolores Serral, who produced such a lively sensation in Paris, where I was one of the first to call attention to the bold passion, the voluptuous suppleness, and the petulant grace, which characterized her style of dancing, appeared several times at Madrid, without making the least impression, so incapable are the Spaniards now-a-days of understanding and enjoying the old national dances. Whenever the _jota aragonesa_ or the _bolero_ is danced, all the fashionable portion of the audience rise and leave the house; the only spectators left are foreigners, and persons of the lower classes, in whom it is always a more difficult task to extinguish the poetic instinct. The French author most in repute at Madrid is Frederick Soulié; almost all the dramas translated from the French are