We saw Rachel in 'Les Horaces.' How noble, how grand is her declamation, appearance, and movement; she inspired me with awe, and in writing about her genius, I feel the insignificance of my praise. What I most admired in her was her power of rising gradually to a climax, an element in any art production, and yet so seldom met with. As she stands leaning against a pillar, motionless as a statue, one has time to admire her classical profile, and the no less classically arranged folds of her drapery; during the story of the battle she becomes a living being, her features betraying every shade of emotion, and, when at last she speaks, her tones peal forth like a solemn measured hymn; as she proceeds she seems to gather inspiration, the measured' Tempo' becomes a 'Vivace,' then a 'Presto,' and then a 'Tempo rubato.' But throughout this scene the voice retains its full power, articulation, and clearness; not a syllable is lost, and it is only when she stops that one is sensible of having followed her breathlessly. << less