the subject of Medea, took the play to Ristori, who made it her greatest part. Alexandre Dumas the Elder, many of whose plays Rachel had refused to act, was one of the most enthusiastic in praise of the new tragedian. The following story was told at the time. Dumas was present at Ristori's acting of Marie Stuart, and was applauding to the echo. An individual seated beside him volunteered timidly that he did not think she was as fine an actress as Rachel.
"I tell you, Sir," answered Dumas, sharply, "to appreciate the genius of Ristori, you must know Italian thoroughly. Do you know Italian?"
"Yes, Monsieur; as well as you know French."
"I thought so," said Dumas, good-naturedly; "you do not know Italian."
Rachel went to see Ristori, and was perceptibly piqued at the applause that greeted her rival. "Rachel never applauded me once," said the Italian actress to Mr. Legouvé. "Madame," was the answer, "Rachel's jealousy was the one thing wanting to confirm your fame." Next day Ristori went to see Camille. "Ah! que cette Rachel est heureuse!" she exclaimed with enthusiasm, "les Français-là comprennent-elle!" She had no right, however, to complain; although she did not talk their language, she managed to win the hearts of that fastidious and critical public, who averred she was as fine as Rachel in tragedy, and finer in comedy. Rachel, indignant and disappointed, made up her mind to shake the dust of Paris off her feet. The fatal engagement which, filled by a strange presentiment, she had hitherto refused to ratify, was signed at last. For the space of more than a year she bound herself hand and foot to her brother, who undertook all the financing and organizing of the expedition.
