in 1826, when Adelaide Ristori was born, in the obscure Venetian city of Cividale del Friuli, Her parents, Antonio Ristori and Maddelena Pomatelli, his wife, were players, members of a strolling theatrical company, and very poor. The little Adelaide made her first appearance on the stage when she was only two months old, being carried on in a basket, in the representation of a comedy called "The New Year's Gift." When four years old, she began to enact juvenile parts, in which, as she was a bright and pretty child, she speedily became a favorite. Her first teacher was her paternal grandmother; and very hard work that teacher had to do, since the pupil evinced far more partiality for music than for acting, and was not, without great difficulty, diverted from the former to the latter. Perseverance, though, bent the twig, and so gave the desired inclination to the tree. As the child grew, her sphere of employment began to broaden. From juvenile parts she passed to the line of "chambermaids," in which, at the age of twelve, she was notably proficient. Her labor at this time mainly supported her parents, and her six brothers and sisters - younger than herself.. Change of place was, of course, frequent, in this nomadic period of her career. The first fixed dramatic company with which she became connected was that of the King of Sardinia, established at Turin. In this city she found her second teacher, Carlotta Marchioni, a famous actress in her day, and not less generous than eminent. To this artist the young Ristori was indebted for sound teaching and judicious encouragement. At times the eccentric old actress would call her "an imbecile," and bid her "go and wash dishes." At other times, when the girl's acting justified approval, she would feign severity and fondly murmur, "I'll have no more to do with you! you act too much as I would have you." In brief, Marchioni had discovered the germ of genius in this bud of womanhood, and she lovingly and faithfully labored to devel op it into the perfect flower. With the Turin company Ristori remained until 1841, when she accepted an engagement in the Ducal company of Parma. The next five years of her life were full of labor, variety, and advancement. Her best successes were won in comedy; but she also attained distinction as an interpreter of the romantic drama. That she was surpassingly beautiful in those days can easily be imagined by all who remember the superb charms of her mature womanhood. But she conquered not less by virtue and genius than by personal beauty. In 1846, Guliano del Grillo, son and heir to the wealthy Marchese Capranica, saw Adelaide Ristori, loved her, and won her heart. The parents of the young nobleman, however, sternly forbade him to marry a woman who was not only sprung of humble origin but was an actress. The consequence of this parental opposition was a stolen marriage between these lovers. Not without great difficulty, though, were bride and bridegroom united. Some time after their marriage, which was hastily contracted at a little church near Cesena (Ristori being then on her way from Rome to Florence, to fulfil a professional engagement in the latter city), del Grillo had to make his escape from potent and dreaded parental vigilance, disguised as a peasant and mounted on a mule-wagon, in which trim he passed safely through many perils, and came at last to Florence and to his wife. Finding their opposition vain, the parents presently relented, and a general reconciliation was attained. In the meanwhile the marriage of Ristori and del Grillo, originally one of public proclamation, — a valid ceremony in the Romagna, in default of the usual rite, had been solemnly ratified, at Rome, by Cardinal Pacca. Thus, in honor and eminence, closed the first chapter in the brilliant life of the actress. In deference to the wish of her husband's family, she now retired from the stage. A brief period of domestic repose succeeded. But the genius of Ristori, not yet fully sat isfied by expression, fretted in retirement and longed for its wonted field of labor. The fetters were soon broken. Hearing that one of her former managers had been imprisoned for debt, the actress determined to give three performances for his benefit. In pursuance of this resolve, she returned to the stage. Her reappearance was made at Rome, in 1849; and so great was her success that the populace stormed the theatre, and wildly demanded her formal and permanent resumption of her legitimate pursuit. Upon all hands her greatness was acknowledged. Even the noble relatives bent to the spell of this victorious hour. Aristocratic scruples were laid aside; a beneficent genius was left free to pursue its natural course; and, from that day to this, Adelaide Ristori has labored almost constantly in the service of the drama. Nor, in so laboring, has she neglected even the least of the duties of private life. Cherished as a wife, reverenced as a mother, and extolled throughout the civilized world as an actress, she is a living rebuke to the idle and petty theory that woman cannot devote herself to an independent pursuit without sacrificing the sanctities of her home. Ristori's first efforts in tragedy were made after her reappearance at Rome. It was then, indeed, that she determined to dedicate herself to this branch of her art. A renowned Italian actress, Caroline Internari, advised her to this intent; and experience has shown the wisdom of that advice. Step by step, in the course of nineteen years, Ristori has risen to the first eminence among the tragic actresses of her time. Upon the Italian stage her rank was attained with comparative ease. She played many parts; but the culmination of her national success was marked by her performance of Alfieri's Myrrha, in 1850. It is a terribly painful impersonation, but it is wonderfully strong. Outside of Italy and France, though, it has never been regarded with much enthusiasm save that of horror; and there seems no especial - |