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 FROM THE 
 
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 Sarah Bernhardt, artist and woman. 
 
 3 1924 027 175 136 .„.,.,.. 
 

 

 
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TRANSLATION OF THE AUTOGRAPH PAGES 
 OF MME. SARAH BERNHARDT. 
 
 You ask me, Monsieur, for a short preface to a book which you are 
 publishing. ^ It will not be very easy to content you. a* If you have 
 spoken kindly of me, my compliance with your request may lead some 
 people to suppose that you v/ere prompted by a wish to please me when 
 you wrote your book. ^ And, on the other hand, if you have been 
 ill-natured, your action may appear perfidious. ^^^J>j-^j-ji 
 You ask me to supply you with some information about myself and 
 my childhood. ^ Innumerable stories have been printed about both, 
 and most are false. ^ J- ^ ,^ ^^^^.^j-^^^j^j^j^^jfi, 
 In my memoirs, which I mean to publish two years hence, I shall 
 correct these untruths. ^ But as your book is to be issued in America, 
 you may express my feelings with regard to this amazing and most 
 admirable nation. ^^^^^^^^^^,^j^,^,^jt^^^^ 
 I am making my fourth tour in America. ^ The extraordinary 
 progress of this public has astounded me. ^J-^^j^^^^ji^ 
 When I came here first, some sixteen years ago, I made my debut as 
 Adrienne. ^ At the end of a few minutes I was disconcerted and 
 alarmed by a strange noise. ^ Five minutes later the same noise 
 disturbed me. ^ It sounded like the dull and muffled hissing of a 
 multitude. ^ I heard the sound a third time, and at last I understood 
 what had been troubling me. ^ The ladies in the house had all come 
 armed with copies of the play, and as they turned the leaves they 
 made the rustling sound which seemed so terrible. ^ ^ ^ J- ^ J- j- 
 On the occasion of my second visit to this country, some ten years 
 ago, about half the women in my audiences managed to dispense 
 with books, t^^^^^t^^t^^^^^^j-j-^^^ji^ji 
 When for the third time I appeared here, at most ten or fifteen of them 
 had brought copies of the play with them; and this year not one 
 woman — not a single one — had any need of books. ^^ This seems 
 to me no less remarkable than admirable. J-^J-J-^J-^J-J-J- 
 
I have been taxed with being very partial to America. ^ I see no 
 reason to deny that I am heartily in sympathy with this free, vigorous, 
 vibrant people, which is so quick to welcome new inventions, science, 
 art and genius, irrespective of their origia itJL;Ji^^JL^^,i,Ji 
 Yes, I adore this country, in which Woman reigns, and reigns so 
 absolutely. ^ She comes and goes. J- She orders, wills, exacts, 
 instructs, spends money recklessly, and gives no thanks, e^* This 
 shocks some people, but it only charms me. ^ What is more idle than 
 a "thank you *' ? «5» As if one were not thanked enough by the mere 
 pleasure that one gets in doing service to a woman ! ^ ^ ^ ^ ^ ^ 
 Ah, American women are fortunate \ jt, ji ^ jt-^^j^ji^^^' 
 A very pretty woman whom I met here in society — she was 
 renowned not only for her beauty but also for her wit and literary 
 gifts — once broke out with this remark; js,ji,jt.jiji^jiji^ji 
 " But, Mme. Bernhardt, we think we are too much respected. =^ Our 
 husbands work incessantly from morning till night." ^ jt jt ^ ,^ jt 
 " That's true," exclaimed another lady. ^ " But I would rather do 
 without a husband than have him dangling after me all day."^ ^ ^ 
 I asked them for their last word on the subject. ^ They were silent. 
 Well, what ofit?^^^^^^^^^^^^^^^^^^^ 
 Another thing which has impressed me here is the quickness with 
 which the literary taste of your people has changed, ji. ^ ^ ^ ^ j, 
 A few years ago the plays you seemed to like best were those in which 
 action, emotion and what we call " le clou " were everything. ^ For 
 the literary side of plays you cared nothing. ..*„•« ^ ^< ^ ^< ^ ^ ^ 
 Now, however, the American public wants to think. ^ It demands 
 more than the comparatively trite excitement caused by the discovery 
 of a long-lost child, or a poisoning scene. ^ It wants an insight into 
 the true inwardness of things. ^ A fine idea charms it, and it is more 
 deeply touched by a new thought, uttered simply, than by an assas- 
 sination or the revelation of a hidden crime. ^ ^J^jiu*^^jt^ 
 The intelligence of your women has asserted itself in a surprising way. 
 Your women know a great deal, and what they do know they know 
 
thoroughly. <^ They are less superficial than we are, and, though 
 they discuss dress so much, they dream of serious things. ^ Many of 
 them are journalists or doctors, and, unlike our own viragoes who 
 shriek for woman's rights until they make themselves abhorred, they 
 contrive to be withal true women, ^^^^^^j^^^^^jf^^ 
 I regret that you have no Conservatory here as yet. J- Many of your 
 men and women only need a little training to become good artists. 
 If you had a Conservatory in America there would be no room here 
 for foreign companies, and some of your young actresses would soon 
 develop into " stars " of the first magnitude, ^^jf-j-t^jf-r^jf-j- 
 Nearly all of them are pretty and attractive. <^ Their tendency to 
 overact might easily be cured, a* A little training, with their natural 
 grace and love of the aesthetic to help it, would enrich America with 
 the best artists in the world. ^^^^^^^^.^^^^J-J-^ 
 How is it that there are not a few rich, influential people here to found 
 a Conservatory "i j^ ^ ,^ j- j^ ^ j- ^ ^ j- ^.^ ^ J- ^ ^ t^ .^ ^ 
 I do not know if I shall ever come back to America. J- But, if I do, I 
 most devoutly hope my dream will have been realized. ^ ^ ^ ^ ^ 
 In the name of your young artists I cry out for " A Conservatory, a 
 Conservatory \"jii^ji^^^^^^j-^^^^^^,^^^ 
 I make this appeal for the sake of the American stage, which should 
 and could support itself. ^ I make it on behalf of American literature 
 and of American authors, some of whom, despite their real and 
 striking talent, cannot now get their plays interpreted. ^ I make it, 
 lastly, in the name of this public, which is longing to applaud its own 
 artists and its own writers, ^j-^^^^t^^^^^t^j-^,^ 
 
 SARAH BERNHARDT. 
 
I ^* ^* ^* ^* ^* ^* ^^ ^^ ^^ t^* t^^ t^^ t^^ ^^ ^^ v^ ^^ v^ ^S^ ^^ 
 
 is not a biography of Sarah Bernhardt we intend 
 to give you. ^ It is the true character, the very soul 
 of the greatest of artists of our century, a* We will try 
 to describe her glorious career in its full splendor, 
 foflowing it step by step. ^,^^^^^^^^^ 
 In contemplating the apparent agitation of Sarah Bemhardt's life, 
 that which strikes one first is her indefatigable devotion to a unique 
 purpose — the worship of pure art. <^ This aesthetic dedication so 
 truly dominates her life that, for it, all other aims are relentlessly 
 
 ^Dd-llClOriwCl* i5* a^ e^* a5* ^* a^ e^* ^* e^ e^* ^* e^* e^* ^* %^ i^* a^ b^ t^ 4^ v* 
 
 At the outset of her career, and ever since, when ignorance or 
 prejudice has misunderstood or perverted her intentions with the 
 potent weapons of ridicule and calumny, she has always disdained 
 to see or to engage in the contest ; her eyes resting on the " beyond " 
 which beckoned her forward in her artist dreams, she would advance, 
 calm and smiling, to merited triumphs, ignoring petty malignity about 
 
 XXwI^ Ur-IXI* t^^ K^* t^' t^' 6^* ^* ^* ^* ^* ^* ^* ^* t^' ^* ^* t^^ J^ ^* ^^ ^* 
 
 When renown first welcomed her, she promptly held out helping 
 hands to authors and artists of talent, toilsomely treading the same 
 road which her success had made an easier one. e^* She sought to 
 impart to each a spark of the sacred fire that had stirred her 
 unflagging efforts. ^ " Never has art had a more disinterested or 
 more enthusiastic priestess ! *' said Alexandre Dumas to his father. 
 "How many, among those who were meant to remain in dull 
 obscurity, have been warmed and brightened into consequence at 
 your forge?** ^ How many authors and artists would have 
 continued unappreciated had not her helping hand rescued them 
 from oblivion! t^ ^ ^ ^ ^j^^^^^^^^^^^^^^ 
 To act side by side with this illustrious tragedienne has been the 
 dream of all actors of talent. «^» To have their literary creations 
 incarnated by her has been the first object of all dramatic authors, f^ 
 Shortly before his fatal illness, Alexandre Dumas asked that Sarah 
 
 COPYRIGHT, 1B9e, BY A. BLANCK. 
 
Be^ardt should "create" the principal part of "La Route de 
 Thebes/' when this, the last work of the master, which he was not 
 permitted to see, should be presented at the Comedie Francaise. 
 ^ ^ ^ « All for Art ! " has been Sarah Bemhardt's epigraph. ^ ^ ^ 
 From the very beginning at the Convent Grandchamp at Versailles, 
 where she was educated, little Sarah revealed what she was to be 
 during her life : sometimes good, sweet-natured, loving, even angelic ; 
 sometimes, on the contrary, quick-tempered, impetuous, insubordinate, 
 but always of a vivacity of mind and intelligence much above her 
 age. eM Every year, after the commencement, she would return to 
 her mother loaded with prize-books and covered with laurel wreaths. 
 It is in this same convent of Versailles that Sarah Bernhardt received 
 the complete education which enabled her to become, later, one of 
 the most widely cultured women of her day. ^^^^^^^^ 
 Her illustrious predecessor, Rachel, had not the same advantages in 
 education, a* Obliged from earliest childhood to sing in cafes of Lyons 
 and Paris to support parents and numerous brothers and sisters, 
 Rachel had never found the necessary time to study even the 
 mysteries of spelling. .#* Hence, in the heyday of her renown, she 
 could never write her own letters, but was forced to communicate 
 her ideas to one of her friends, a journalist, who gave them proper 
 literary form. ^ But Rachel was a rarely intelligent woman of original 
 ideas. ^ Her fine thoughts found the light in spite of her ill-spelled 
 words, as will be proved by the following letter which she one day 
 wrote to Alfred de Musset. ^J^J'^^^^^^.^^^^J-^^jt- 
 "My dear friend: — I was told tha^ I have some chance of reconciling 
 myself with you; I want to try it. J- Herewith I send a box for 
 to-night's representation; if I see you in it I will play ' Camille ' very 
 well; if I do not see you in it, I will play still better so as to make 
 you regret not having come.".?* t^^^J-t^^ji^jid^jt-ji^ 
 Sarah Bernhardt had never need of a secretary, a* Thoughts spring 
 forth from her pen. ^ Ideas are expressed in sprightly, pungent, 
 and graceful style. ^ What sweet caresses she easily finds for her 
 friends, for the beings who are dear to her ; but what cutting, even 
 cruel irony, for her enemies when she deigns to answer them! 
 What an interesting volume could be made by publishing her 
 private letters ! ^ Those first triumphs of the convent that little 
 Sarah ' obtained without an effort. '^'^'^^J-^.^d^^jii^^^ 
 
The queer but captivating little girl was a dreamy soul, for she 
 already felt her irresistible vocation sprouting and developing day by 
 day; the vocation for the stage! ^ Ah! some day she too would 
 become famous; she also would see a public worshiping at her feet! 
 Yes ! she also would interpret the masterpieces of GDmeille, Racine, 
 
 Shakespeare and Victor Hugo, j^ ^ ^ ^ 
 Sarah was transferred without delay from 
 the convent to the Conservatory of Elocu- 
 tion, e^ Trusting in her star, she dared to 
 confront there the awe-inspiring Jury with 
 a simple fable of La Fontaine : " The Two 
 Pigeons." ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 
 Never before had such audacity been seen; 
 but never before had La f ontaine been 
 interpreted as he was that day \^ j^ .^ j^ 
 It was no longer a fable; an entire drama 
 was acted by this pale little creature before 
 the members of the Jury, t^ Struck with 
 stupefaction, the President, the world - 
 known Auber, was dumbfounded : " What 
 a lovely voice," he said to his neighbor, 
 Legouve, " she ought to enter the singing classes ; what a Zerlina for 
 my * Fra Diavolo,' and how charming she would be in * Angele ' or 
 the 'Domino Noir'! ^ How she has recited that fable, gentlemen!" 
 he said, turning to the other members of the Jury. ^ J> ^ ^ ^ ,^ .^ 
 She was received unanimously^s^t ^.j>^^j-^^^^^^j^^ 
 
 AT EIGHTEEN YEARS OF AGE. 
 
 m^u 
 
HEN quite young, Sarah entered the Conservatory 
 where she studied under Sanson and Provost. ^ In 
 the elocution classes the same instructor teaches both 
 comedy and tragedy. ^ Hence, if he be a tragedian 
 he directs the studies of a comedian whose ideas of 
 comedy are likely to become lugubrious. ^ E the instructor' on the 
 other hand is a comedian, he may teach the tragedienne to declaim the 
 frenzies of Hermione as though she felt a glow of mirth in her anger. 
 Sarah remained but two years in the Conservatory. cM She obtained 
 the second prize for comedy at the end of the first year and wished to 
 leave that institution, and would have done so had not the Admin- 
 istration of the Comedie Francaise allotted her a stipend in order 
 that she should stay another year. J- She agreed, almost unwillingly, 
 to submit a few months longer to the severe discipline of the con- 
 servatory classes, where her independent nature and personality, 
 already asserting themselves, found the sphere too narrow, a* But 
 upon awarding the second prize of tragedy, the members of the Jury 
 gave her the hope of a first prize if she consented to remain a third 
 
 y Crtx • ^^ ^* ^* t^^ v^ J^ ^^ ^^ f^^ 9^* ^^ ^^ t^' t^^ t^^ ^^ t^* t^' ^^ ^^ t^' J^ tS^ 
 
 With her usual modesty, for Sarah has always been unassuming, 
 she was quite contented with this half-success, and when finally she 
 left the Conservatory, it was without the least feeling of envy or 
 jealousy toward her more fortunate friends, who had carried off the 
 first honors. ^ Beside, she has never shown jealousy toward any 
 companion or rival; and this is one of the loveliest traits of her 
 character. »5* Even to-day no one defends with more sincerity and 
 zeal any artist whose merit may be impugned; and should there arise 
 to-morrow the peeress of Sarah Bernhardt, she would have indeed no 
 admirer more fervent than her illustrious predecessor.^ ji jt. jn j. 
 When Sarah quitted the Conservatory she was engaged by the 
 Comedie Francaise. «^ They did not give her time to familiarize her- 
 self with her audience. ^ They assigned to her immediately two of 
 
the most difficult and dissimilar roles, Iphigenia in the " Aulide *' of 
 Racine and the Valerie of Scribe. <^ Leaving the Conservatory on the 
 fourth of August she was obliged to make her debut the following 
 week, e^ Such hasty preparation exposed her artistic career to a brief 
 existence, which was truly the covert desire of many ; for Sarah's 
 artistic promise had even then created enemies, that the zeal she dis- 
 played in her work only confirmed. ^ She made her debut almost 
 without a rehearsal, c^ The evening of the first representation she 
 was so agitated and excited, that her instructor. Provost, standing 
 beside her in the wings, would push her on the stage. .M But, when 
 facing the audience, she quickly regained her assurance to achieve 
 immense success. sM Francisque Sarcey, in describing the represen- 
 tation, said: "Mile. Bernhardt appeared for the first time in 
 ' Iphigenia.* .5* She is a tall, handsome woman, and very attractive ; 
 the upper part of her face is remarkably beautiful; she carries 
 herself admirably and pronounces with perfect clearness." j^ ^ j^ 
 She had succeeded ! »?* But then followed fast the outburst of hatred, 
 of which she was the victim ; it took this expression : To think 
 that a new-comer, a mere child, had dared to tread a stage like the 
 Comedie Francaise; to attempt the leading parts, and from the 
 
 start had pleased both the public and 
 the press. ^ Her enemies managed 
 their intrigues so artfully, that Sarah 
 was soon relegated to obscurity. 
 No longer cast for the principal roles, 
 she became hopeless under the stress 
 of forced inaction. ^ Yet her courage 
 did not fail, for she accepted the result 
 as long as she could; but, finally, 
 patience gave out : for one day, at the 
 Comedie Francaise, unable to restrain 
 her indignation, she slapped the face 
 of Mile. Nathalie, her archenemy, who 
 was making sport of her before her companions. ^ This was the 
 third and last role that Sarah played during her first engagement at 
 the Comedie Francaise, which lasted nine months ; nevertheless one 
 must admire her force of character. ^^j^^t^J^t^^^<^>^'^ 
 From the beginning of her career Sarah conquered the public by her 
 
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 AN ENGRAVING BY LOUISE ABBEMA. 
 
marvelous gifts, and simultaneously became an object of envy to 
 many of her companions, who were willing to bar her road to^ 
 success, t^ But success is not to be neutralized by the envy of the 
 unsuccessful. ^ She found in this ill will of the envious a source of 
 new confidence in herself. »** ,^»?t,^*st,i?*,^»j*,^*?*t^«^^«^»?* 
 There were those who tried to close the doors of the Paris theatres 
 to her; but she forced them open. 
 After some delay, Sarah appeared 
 at the Theatre du Gymnase, but 
 only to play minor parts, accepting 
 with resignation, while fretting, for 
 she felt the spark of genius glowing 
 in her heart, c^ But these secondary 
 roles exposed her to disparagement 
 in the eyes of the public. ^ Curiously, 
 however, Sarah was shortly after- 
 ward assigned to a part in "Un 
 Soufflet n'est Jamais perdu" (A 
 Slap is Never Lost), a play in one 
 act, by Bayard. .5* Perhaps it was 
 that the members of the Comedie 
 Francaise found allies among the 
 actors of the Gymnase, who wished 
 
 to stir again Sarah's indignation to its depths, and spur her to acts 
 of violence. ^ Nevertheless, she found the way through unimportant 
 roles to reveal her great talent, particularly when substituted for 
 some famed artist who, prevented from playing, gave her the 
 opportunity. «^ Soon, however, when grown weary of her unfriendly 
 surroundings, she left the Gymnase, and after being idle for some 
 time, obtained at last an engagement at the Odeon. ^ Here Mile. 
 Bernhardt was finally able to display her extraordinary gifts and 
 impress herself upon the Parisian public. ^ What beautiful productions 
 were those of Britannicus, of Athalie, of Kean, Francois le Champi ! 
 Francisque Sarcey, although the champion of the Comedie Francaise, 
 was yet judicial enough to say of her, following her success in 
 "King Lear": "She has, if she is willing to work, a splendid future 
 before her." .M He should have added, " provided, she obtain the parts 
 suited to her marvelous talent." '^>^<^'^>^<^^jf-^^^^^ 
 
 FRANCOIS LE CHAMPI. 
 
 Sig5ffil5SSt®:S:®Sl^JSt^^¥^'Saii^ 
 
^* t^ e^ t^ 6^ ^* ^* ^^ t^ a^ t^ a5*^ tt^ «^ v^ fi5* ^^ e5^ V^ ^^ 
 
 T last, her " creation " of Zanetto in " Le Passant " 
 of Francois Coppee was the opportunity to realize 
 most cherished dreams and establish her primacy. eM 
 Francois Coppee, but twenty-seven then, was as yet 
 obscure ; he belonged to a family of small employes, 
 his father having made great sacrifices that the gifted son might 
 acquire an education. <M Unfortunately Francois, as a student, was 
 in poor health, and was obliged to discontinue his studies before 
 they were completed. ^ When his health returned he obtained a 
 modest government appointment in a bureau, wherein his father 
 was holding a small situation ; but Francois Coppee, burning with 
 thirst for knowledge, effected his own education by study and 
 reading during the evenings, after office hours. ^ By nature a 
 singer of rhymes, he wrote fugitive pieces which saw the light 
 in second-class magazines, only to pass promptly into neglect; but 
 a happy fate befell one of those pieces 
 when it caught the eye of that excellent 
 artiste of the Odeon, Mile. Agar, whose 
 death occurred in recent years. ^ With- 
 out knowing its author. Mile. Agar 
 declaimed Coppee's piece ("la Benedic- 
 tion ") with pronounced success at mati- 
 nees and in salons. ^ At last she visited 
 Coppee to ask that he write a play for 
 her, for the Theatre de TOdeon, offering 
 to charge herself with everything pertain- 
 ing to it. ^ Thus it was that Mile. 
 Agar brought forward Francois Coppee. 
 He wrote for her " Le Passant,** which 
 was produced at the Odeon. «^* This 
 charming idyl, which takes scarcely half 
 an hour to enact, and contains but two ^.e passant. 
 
LAST DRAWING OF VICTOR HUGO. 
 
 characters, crowned two persons with honor: first, its author, till 
 then unknown; but not second, the good patroness Mile. Agar, 
 who played the part of Sylvia. ^ The twin honor fell upon Sarah 
 Bernhardt, to whom the author had assigned the boy's part of 
 
 Zanetto. .^ When Sarah stepped into 
 the scene in her graceful disguise as 
 a Florentine page, and when, with 
 that melodiously musical, caressing 
 voice, she began in whispers that 
 delightful love verse, the house burst 
 into applause, wild and enthusiastic ,^ 
 The next day Paris found but two 
 subjects of conversation : Sarah Bern- 
 hardt and Francois Coppee. .M "Le 
 Passant " achieved immediate renown, 
 not only for theatre audiences, but 
 within the most exclusive salons. ^ 
 The Parisians were enthusiastic over 
 it everywhere, a* Sarah Bernhardt had 
 now borne for seven years the courage and resignation which was to 
 disarm and vanquish envy — seven years lost to art and the artist! 
 Yet this bewildering triumph did not turn her head ; she carried 
 herself like the born heir to a crown, who assumes it merely to return 
 more earnestly than ever to nobler work, e^ Having conquered the 
 first rank, it is necessary not only to keep there, but to climb higher. 
 Ambitious dreams now beset her of conferring lustre upon French 
 dramatic art, then languishing through need of new poetic food. 
 Now began for the admirable artist a life of untiring 
 labor and activity. «M Adding success to success, she 
 represented in her own person the multiform traits of La 
 Dumesnil, or La Clairon, which had been the glories of 
 Miles. Mars and Rachel. ^ Victor Hugo, the king of 
 modern French dramatists, happy to find in Sarah 
 Bernhardt the artist he had hoped for, proposed that she 
 revive his Ruy Bias. ^ She accepts, and through her 
 peerless talent resuscitates the public taste for the dramas 
 of the romantic school. .^ Then followed the general 
 infatuation, when Paris went wild over the extraordinary 
 
 'mssmm^m!^mmm^m!^m^m 
 
n 
 
 SARAH BERNHARDT. TABLEAU BY BASTIEN LEPAGE. 
 
 woman, a* Every trait of 
 hers contributed to feed the 
 fascination she had bred 
 within the public mind. ^ 
 At that period of her life, 
 Sarah's slenderness had be- 
 come proverbial. =M Slight as 
 was her figure, and spare as 
 was her flesh, they yet pro- 
 vided inexhaustible food for 
 caricaturists and for comic 
 allusion. ^ Her regular feat- 
 ures of classical cut recalled 
 in softened lines something 
 of the Dutch traits of her 
 mother. ^ But that which 
 gave to Sarah's face its 
 unique and fascinating char- 
 acter — her eyes — these, her long, strange, superb eyes, of which the 
 pupils seemed to change their color with variations of light, as if to 
 accent the changes of her physiognomy : They seemed like old gold 
 when the artist was dreaming; or like light green when anger con- 
 tracted her brow, and dark blue when smiling. ^ But, strangest of 
 all, they seemed to disappear from light unto dullness when death was 
 to be portrayed, ^jtjijt^^jtt^^jt^^jtji^^^^^ 
 Fashion now followed to consecrate the general infatuation; for years 
 everything was "a la Sarah Bernhardt." 
 La Comedie Francaise came to apologize and 
 to beg her return to the stage of the " Rue 
 de Richelieu." ^ She consented. ^ But, no 
 sooner there, Sarah found the old enmity 
 reviving and enveloping her as when it had 
 effected her departure. .M Sarah began her 
 repertoire with '* Mile, de Belle-Isle," in which 
 she could display but few of her admirable 
 qualities; yet the intrigues of her colleagues 
 were soon frustrated by the brilliant success 
 she secures in the " Sphinx," of Octave =*■=*« *= " b""=='"^^- 
 
 ^^5?J®:BySt®^6*J3KSS5^^^ 
 
Feuillet, which contained two leading roles, created by her and Mile. 
 Croizette. ^ Francisque Sarcey wrote upon the occasion: "It was 
 Sarah who carried off the suffrages of the connoisseurs. .M She 
 acted with a noble and discreet charm, which was the more striking 
 as her rival allowed herself to be carried away by her temperament. 
 Sarah Bernhardt had but little to say in the first two acts, still she 
 found the means to arouse wild applause by a few words — by a 
 gesture of the hand. .M The last act belonged to her. ^ Having the 
 sympathetic part as impersonating the outraged wife who forgives, 
 she displayed an indescribable vehemence of passion in declaiming 
 these words: "You wish to know ,_^ 
 
 if I have letters," articulated clearly 
 and cuttingly; each word fell 
 from her quivering lips like a 
 separate arrow whizzing through 
 the air. ^ji.^^j,^^^ji.j. 
 Sarah, now the first favorite of the 
 public, the war between mediocrity 
 and genius was no longer to be 
 fought, it was terminated; her 
 power was to manifest itself in 
 "Phedre;" she dealt in "Phedre" 
 the master-stroke of her career. ^ 
 Even the fastidious Sarcey found 
 her comparable with Rachel — but ' 
 
 only in certain places, and superior 
 to her illustrious predecessor in 
 
 others ; yet all Paris went to see " Phedre," who hardly expected 
 such honor. ^ Even now it is but necessary to announce the revival 
 of that tragedy to attract a full house. J- Ah ! was not Racine bom 
 too soon! What enjoyment he missed; what royalties he would 
 have obtained in our day ! ^ ^ ^ ^ ^ ^ ^ ,< ^ ^ ^ ^ ^ ^ ^ 
 Sarah gave this lucrative occupation to the author, Mr. Henri de 
 Bornier, presenting a new character as " La fille de Roland." ^ After 
 this success she appears as Mrs. Clarkson in " L'etrangere," by 
 Alexandre Dumas Fils. ^ What variety of talent that can multiply 
 itself to secure a victory with every battle \^^j.^^^^j.^ 
 The great master, Dumas, grew fond of the artist, the siren who 
 
could impart to her creations such personal charm. ^ He tied her 
 to himself with bonds of an aesthetic friendship that never relaxed. 
 Between those two geniuses were the links of grand affinities of 
 both talent and character. ^ He also was generous to excess, and 
 as independent. ^ It was after a revival of " La Dame aux Camelias " 
 (Camille), from which Dumas had reaped a hundred thousand 
 francs, when he learned that Sarah was a prey to financial anxieties. 
 How could it be otherwise ? .5* She was always giving without 
 restraint, doing good to all around her; she had exhausted her 
 funds and become the victim of usurers. ,^ Dumas visited the 
 director of the theatre where Sarah was then playing. ^ " Sarah," 
 said the renowned master, *' has just won a hundred thousand francs 
 for me; I return them to you 'for her.' .5* I do not wish this great 
 artist to be poor; she who enriches others." ^ Dumas had the 
 nobleness to offer it, Sarah the pride to refuse it. «^* But these two 
 strong personalities esteemed each other all the more. ^ ,^ ^ ^ ^ 
 
 SARAH BERNHARDT S BOUDOIR. 
 
^* ^^ ^* e^* ^* f^i ^* ^^ v^ ^* e^* v^ v^ ^^ ^* ^^ ^^ ^^ tS^ ^* 
 
 URING seven years in unbroken order Sarah created 
 one part after another at the Theatre Francaise, only to 
 captivate her audiences. ^ She would thrill the public 
 heart with Posthumia in " Rome Vanquished/' or stir 
 its soul with Hernani's " Dona Sol/' or melt the lovers 
 of the classique with '* Andromaque " ; she is queen from the top of 
 her head to the tip of her toes in " Ruy Bias." ^ Nor is this impres- 
 sion of true sovereignty enshrined apart on the mimic stage; she 
 carries it everywhere and makes her presence felt. ^ Crowned heads 
 accept her, in the rank her superiority establishes, as their equal, a 
 queen by right of genius and rare intelligence. ^ No language is more 
 fascinating than her acute and sprightly conversation in which in 
 the most discreet way she shows her rare intellectual culture. .^ ^ 
 While Sarah, during her septennate, thus attracted the public to the 
 Comedie Franpaise, her situation was steadily growing more annoy- 
 ing; contentions with the administra- 
 tion had become too frequent. .^ Char- 
 acters best suited to her were given to 
 less competent favorites of the moment. 
 Indignant over such injustice, Sarah 
 resigned her position, under an irrevo- 
 cable resolve never again to act on the 
 boards of the Comedie Francaise. ^ ^ 
 This famed theatre, however, to revenge 
 itself, as it seems, tried to strike back 
 and obstruct the future productiveness 
 of a gold mine which had so long 
 enriched it. j* Sarah, like the other 
 " societaires " of the company, had de- 
 posited into the reserve fund about a 
 hundred thousand francs, in prospect of 
 her sometime resignation, and these 
 
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 were confiscated. ^ In addition, 
 she was made to pay an indem- 
 nity of another hundred thousand 
 francs. ^•^.a*a*.s*.#*j*^,^a* 
 The world undoubtedly approves 
 admiringly the Comedie Francaise 
 which, since its foundation in 
 1680, has supplied the capital of 
 the theatrical world almost unin- 
 terruptedly with the most eminent 
 artists, and which seems to givt 
 eternal youth and beauty to 
 French dramatic art. «^ But ad- 
 miration does not prevent the 
 regret that some of its statutes, 
 dating back more than two hun- 
 dred years, still govern in their 
 original force as they were con- 
 ceived by Colbert, the celebrated minister of Louis XIV. ^ Times 
 have changed since then. .M Why claims the Comedy Francraise still 
 her ancient right to exact that every "societaire," leaving either before 
 or after his or her retirement, shall never again tread the boards of any 
 Parisian stage. ^ This precaution, taken presumably to assure the 
 future of the first French dramatic stage, was indeed needed at its foun- 
 dation, when true artists were rare and com- 
 petition meant danger. ^^j^,^j^^j^^ 
 But to-day, why seek to deprive the Parisian 
 public of the representations of a Coquelin 
 because he has retired, or of a Sarah Bern- 
 hardt because she refused to continue under 
 conditions unjust and annoying ? ^ Here is a 
 field for reform and one which would be in 
 the interest of French dramatic art. J- As the 
 Comedie Francaise proved an unmerciful cred- 
 itor, Sarah Bernhardt paid to the last centime. 
 Her financial situation being almost exhausted, 
 she undertook her first triumphal career in 
 America. aS* Partisans of the Comedie Fran- 
 
 FACSIMII-E OF A DRAWING BY 
 SARAH BKRNHARDT, 
 
Nadar, Paris. 
 
 caise, growing clamorous now, filled 
 the newspaper columns with their 
 contempt. ^ To them she was no 
 longer the divine Sarah, devoted to 
 her art. J^ She had become a vulgar 
 comedienne, ruled by money. .^ No 
 abatement of the provocations that 
 the illustrious tragedienne had re- 
 ceived at the hands of the Comedie 
 Francaise was noticed.*^ j^ ^ jt j^ 
 Yet Sarah was leaving to replenish 
 her exhausted funds, worshiping her 
 art too truly to neglect it for one 
 moment, in spite of all material pre- 
 occupations. ^ Besides, she knew 
 that on this side of the Atlantic she 
 would find herself in the presence 
 of an audience as exacting as the 
 Parisian public. «?* For several years past nearly all the great artists of 
 Europe had, being warmly received, won American laurels. >^ ^ ^ 
 The artistic education of America had made rapid progress, and Sarah 
 recognized the fact that she would be judged by connoisseurs. eM Hence 
 she endeavored to give a still more artistic, and especially a more 
 personal finish to her talent than she had ever done before, e^* Can 
 Sarah be inferior to Sarah ? ^ And, after each of her returns from 
 America, the Parisians came to applaud her enthusiastically, t^ They 
 were frank to discern that her dramatic power, far from 
 diminishing, had grown in intensity. ^ If Francisque 
 Sarcey himself could be present at one of the fervent 
 performances she gives in America, he would experience 
 the same emotions and joys he feels and chronicles from 
 his often-described fauteuil at the Comedie Francaise. ^ 
 One day, it was during a previous visit here, Sarah 
 played at a matinee. ^ It was a stormy day ; the slip- 
 pery sidewalks frightened the New Yorkers from ven- 
 turing out. a^ The performance took place to empty 
 benches — to very few spectators. J^ The individuals 
 present felt keenly humiliated and awaited the appear- 
 
ance of the great artist with apprehension. ,^ " Will she not be too 
 discouraged to act," they anxiously asked themselves. ^ At last, she 
 appears ; it was "Jeanne d'Arc." ^ To the great pleasure of the hand- 
 ful present, the illustrious tragedienne advances resplendent, glorious 
 as always, and growing more and more inthralled with her part, she 
 spoke her pathetic lines with an intensity equal, if not superior, to any 
 she had ever bestowed upon the most brilliant house. J- A delighted 
 few went to compliment her after the representation. ^ " How could 
 you spend your energy and exhaust yourself for such a small audi- 
 ence ? " e^ She answered vivaciously : " I played with veritable pas- 
 sion to show my gratitude to the few who braved the storm to hear 
 me." ^ This reply shows Sarah Bemhardt's very self. ^ ^ ^ ^ ^ 
 There were some who, in anticipation of 
 her departure, shed crocodile tears, and, 
 alas ! shed them in vain, a* Beside, they 
 took good care not to speak of the principal 
 motive which impelled her to leave Paris. 
 She was a mother, and an admirable one. 
 Should she not safeguard the interests of 
 her son, then but a boy, and assure his 
 future ? «?* To satisfy the insatiable greed 
 of her creditors was not a sufficient rea- 
 son. e5* She had, moreover, to guard her 
 child against possible poverty, and she 
 bravely faces this double duty. J- What- 
 ever her enemies may say of her, she has 
 done, and always will do, her duty under any circumstances. ^ ^ ^ 
 Sarah never quarreled about the jests that were printed upon the 
 subject of her vagaries. ^ She was the first to be amused with the 
 spiritual caricatures that the leading draughtsmen produced, for her 
 temperament is extremely joyous and she detests vulgar amusement. 
 She found it as diverting to attempt the domesticating of a lioness or 
 a tigress as another woman would to shine in zr chef-d'oeuvre of her 
 dressmaker, a* At another time she made a balloon ascension in pref- 
 erence to the commonplace airing in the Bois de Boulogne. ^ But it 
 was always a risk if a scribbler attacked her honor for any shameless 
 speculative purpose, for she would defend her fireside — her most cher- 
 ished possession. ^ When slanderers have made her heart bleed, no 
 
 SARAH AND SARCEY. BY CARAN D'ACHE. 
 
petty consideration of etiquette restrains her. J> She will punish in her 
 own way. >^ She considers it a social duty in not granting immunity 
 to infamy. J- Of course, she is then accused of doing all this to adver- 
 tise herself. ^ Is advertising needed when one's name is Sarah Bern- 
 hardt ? .^ On the contrary, is not the advertising the work of a pack 
 of reporters, who, at their wits* end for matter, spy into her every 
 
 movement and act 
 to spread and dis- 
 tort them forth in 
 print? .5*.^ What 
 improbable stories 
 have they not in- 
 vented time and 
 again about her! 
 During her latest 
 stay in America, 
 the day she left 
 New York for 
 Philadelphia, the 
 evening papers re- 
 lated with detail 
 that before board- 
 ing the train Sarah 
 Bernhardt created 
 a dreadful disturb- 
 ance at the station 
 because she had 
 not been given a 
 special car, and 
 because they had 
 taken her pet dog 
 to place him in the 
 car reserved for 
 the purpose. ^ The newspapers narrated further that as the train was 
 leaving she was still stamping her foot and crying bitterly. .?* In this 
 circumstantial story there was not a word of truth, a* The friends who 
 had accompanied her to the train saw and heard nothing of the kind. 
 She herself had actually asked not to be given a special car for such a 
 
 RUY BLAS. 
 
LA DAME DE CHALANT. 
 
 short trip. ^ Moreover, the conduc- 
 tor had graciously authorized her 
 to keep her little dog with her. ^ In 
 fact, Sarah Bernhardt had been 
 most gay and joyous, and ex- 
 claimed " au revoir " to her friends 
 as the train began to move. And 
 thus history is written, and especi- 
 ally Sarah Bernhardt's history. 
 And so the good public of New 
 York, reading the evening papers 
 that day, exclaimed, no doubt, 
 " What eccentricities ! ^ What an 
 extraordinary woman!" ^ Yes, 
 extraordinary she is in her perfect 
 devotion to those she loves, a* Of 
 her son she said recently, "You 
 must imagine how I love my sweet 
 daughter-in-law and my precious little granddaughter! ^ Yet that 
 affection takes away no atom of the love I bear my son Maurice. ^ It 
 
 does not touch that love; it remains in- 
 tact.** ^ Her son, in every manner possible, 
 reciprocates her affection, and has consti- 
 tuted himself his mother's defender against 
 her implacable tormentors. ^ Woe to the 
 audacity that offends in this! ^ Hence, 
 when an outrageous article against her 
 appears in any newspaper, she cries, " Ah, 
 mon Dieu ! if Maurice should read this I " 
 Similar devotion she extends to all belong- 
 ing to her. ^ She is a true providence to 
 her numerous relations. ^ How often has 
 she deprived herself of a street costume 
 or of a much desired trifle to help a niece, 
 nephew or some cousin out of dire distress ! 
 And her servants, how well she treats 
 them ! ^ Indifferent about everything that 
 concerns herself, she is solicitous that her 
 
 DEPARTURE. 
 
LA DAME DE CHALANT. 
 
 employes economize, and tries to 
 make little capitalists of them. ^ 
 Once, at the time she was forced to 
 sell her own houses, her servants 
 were buyers of others. ^ And since 
 we have been led to lift a comer of 
 the curtain that hides her private 
 life, let us penetrate a little farther. 
 That which seems marvelous in 
 Sarah is the artist and the woman 
 — ^the two beings totally distinct. ^ 
 In private conversation she speaks 
 with the simplicity of one clothing 
 the thoughts of her soul in beautiful 
 language without seeking effect, es* 
 She speaks with great volubility, 
 captivating her interlocutor by the 
 sincerity which emanates from her 
 entire being — one that is good, delightful, poetical and fascinatii^. ^ 
 When she allows herself moments of leisure, she spends them in 
 painting, sculpture, and in poetry or literature; sometimes in play- 
 writing. cM Although she but touches these various arts, yet she has 
 proved herself superior in every one of them. ^ In each of her artistic 
 manifestations one perceives the tie binding them ; they are the links 
 of the same chain welded by her inventive genius. ^ Yes, Sarah pos- 
 sesses all those gifts. ^ She possesses them to such a degree 
 that, had she devoted herself to painting, she would have 
 been one of the leading painters of our time, a* This is the 
 sincere opinion of connoisseurs who have appreciated her 
 pictures when they were on exhibition at the Champs 
 Elysees. ^ She brings to painting her quality of ardent 
 faith; her brilliant coloring, her composition has the 
 vivacity which characterizes its author, a* Everything is 
 ferment in this woman; ideas abound in her brain and the 
 canvas becomes her confidant. .M In sculpture, Sarah felt 
 herself from the first ill at ease. ^ The cold exasperated 
 her, for marble is glacial. J- How to warm it, and give it 
 life and movement 1 ,^ Sarah has no time to spend months % 
 
 
LA DAME DE CHALANT. 
 
 with chisel in hand; Corneille, 
 Racine, Sardou particularly, would 
 strenuously oppose it. ^ She has 
 to content herself with hurried 
 studies ; in her fervor of work she 
 takes whatever model she finds, 
 and gives it generously the idea 
 she conceives for it. ^^ Examine 
 the original and then the marble 
 after a few sittings; the likeness 
 is striking, but the most animated, 
 the most vibrating of the two, is 
 the marble, ^^ji^^^^j)^ 
 Sarah's detractors at the outset 
 sought to turn her artistic pro- 
 ductions into ridicule, and when 
 obliged to sustain their disparag- 
 ing criticism with some evidence, 
 insinuated that she had signed works of art that were not of her own 
 production. ^ Could higher praise be given than that her pictures and 
 busts were the works of eminent artists ? ^ To imagine Sarah capable 
 of any deceit is not to know her, for if there be a woman who has 
 the courage of her opinions, who accepts and even claims the respon- 
 sibility of her own acts, it is she. J^ J^ 
 Before leaving for America Sarah Bern- 
 hardt made a triumphal tour in the 
 provinces and on the continent, where 
 the great artist was obliged to impro- 
 vise herself as theatre-manager, and she 
 succeeded admirably. .^ This woman 
 wholly disinterested then showed that 
 she knew, when necessary, how to 
 discuss an agreement and to draw it 
 up with the skill of a lawyer. «?* She 
 proved that if she had very often been 
 duped, she had never been the dupe. ^ 
 This tour through the provinces and 
 abroad was a triumph. ^ The crowd 
 
 SARAH PAINTS. 
 
would wait for her at the close of 
 the play to continue in the streets 
 the applause they had given her in 
 the theatre. ^ She passes smilingly 
 among her admirers as a queen 
 adored by her subjects. ^ And 
 there was seen the curious phe- 
 nomenon that the public unites its 
 enthusiasm for the artist with 
 admiration for the woman. ^ It 
 was hated that the calumnies 
 which had been broadcasted had 
 found their echo in the provinces ; 
 but there was none. ^ She was 
 everywhere petted and adulated. 
 The treatment she had received at 
 the hands of the Comedie Fran- 
 caise had shocked every one. e^* A 
 
 critic, claiming to write with authority, stigmatized Sarah Bernhardt 
 
 as having played " L'Aventuriere," of Emile Augier, like the " Vir- 
 of Zola's "UAssommoir." 
 
 But one must be, on the contrary, 
 
 surprised at the modesty and femi- 
 nine charm which Sarah's acting 
 
 always combines with chaste pas- 
 sion. ^ She tempers the violence of 
 
 certain situations by the bewitching 
 
 spell of her interpretation. ^ Sarah 
 
 received deputations from several 
 
 cities where she was not able to 
 
 play. j^jt^^jtjtjA^^jujit 
 
 In one city they would have erected 
 
 triumphal arches for her; in another 
 
 they wanted to illuminate the town ! 
 
 Sarah is radiant, but with her great 
 
 joy is mingled the bitterness that 
 
 she is leading a nomad's life to 
 
 which she seems condemned, far 
 
from those she loves ; and she also grieves at being unable for months 
 during her travels to create new parts. ^ But how can it be otherwise ? 
 During that time the receipts at the Comedie Francaise are consider- 
 ably diminished by the reason of the absence of the great artist. ^ 
 For when they played '* Hernani" there, which had always attracted 
 a full house with Sarah as the magnet, the Paris public showed its 
 indifference by its absence. <^ But she will prove at a later day her 
 gratitude to this same public. a« And then what will her detractors 
 say ? ^ Will they ever admit that she 
 is indeed great? ^ Hardly! ^ More- 
 over, they will denounce Sarah calling 
 her an " Article de Paris," good enough 
 for export, and predicting that the 
 fatigues of travel are injurious to her. 
 To be exact, they said she could not 
 maintain her strength to continue her 
 wanderings with the daily and twice 
 daily performances, thus consuming 
 herself without restraint. ^ Not one of 
 these sinister predictions has been veri- 
 fied by facts. ^ Sarah, self-possessed 
 more than ever, not having to conform 
 to counsel, gave free rein to her genius. 
 She played her roles as she herself con- 
 ceived them; she had no longer to 
 defer to a manager; she had to face 
 the one judge : the dear public. >^ She 
 returned to Paris, remained but a few 
 days, dazzling the ^ world again with 
 the activity and the ardor she threw into her work. «^ Her friends 
 rejoiced to see her so brave, for since the beginning of her career, 
 while having met with much ungenerous criticism, she had also 
 won sincere and devoted appreciation and a host of ardent and true 
 
 rtOixxxrcrij^ ^* ^* ^^ ^^ v^ ^^ tS^ tS^ t^^ ^^ w^ t*^ ^^ tS^ v^ v^ v^ ^^ v^ v^ t3^ v^ 
 
 Soon after her Paris enjoyment Sarah found herself in London. .^ She 
 is here the spoiled child of the stage. ^ Since Patti no one has raised such 
 a public furor. ^ Those who understood French came to admire the 
 purity of her diction ; others, who did not, came to hear that marvelous 
 
 LADY MACBETH. 
 
" golden voice/' and to gather the 
 same impression that Auber ac- 
 knowledged at the competitive 
 examination of the Conservatory. 
 " This is indeed music, but music 
 without notes, from no score." .^ 
 Yet she had never publicly sung 
 except the doggerels of the " Biche 
 au Bois," a fairy play produced 
 during the first years of her career. 
 Her vocal exploit came about in 
 this way : After Sarah quitted the 
 "Gymnase," and before being able 
 to secure an engagement else- 
 where, attacked by nostalgia of the 
 stage, she accepted a part most 
 unworthy of her from all points 
 of view; but it was accepted to 
 break her forced inactivity, and 
 that she might keep in touch with 
 the public. ^ This " Gymnase " 
 engagement was the only one wherein Sarah ever sung, jt jft jn jn jt 
 In London her excited audiences raved about her '* Frou-Frou." ^ In 
 this play, carried away by the emotion of the situations, she shed real 
 tears, but her spectators shed many more, a* In " Adrienne Lecou- 
 vreur " she recites with incomparable art the same fable of the " Deux 
 Pigeons," which secured the support of the distinguished jury of the 
 Conservatory. ^ Since Sarah's first visit the London public considers 
 its theatrical season incomplete without her, and their enthusiastic 
 support has never shown diminution, j^j^n^jf-jf-^^^n^jijijfi 
 From London she went to Copenhagen. ^ There she became so popu- 
 lar that not only would the crowd await her coming at the stage 
 entrance, but escorted her to her hotel. <^ That city, ordinarily so calm, 
 assumed a holiday appearance, a* Some of the 
 inhabitants, unaware of what was going on, 
 asked if the excitement meant a change of 
 government. .^Finally her popularity increased 
 so that the public objected to her departure. ^ 
 
 ^ ' ^ SARAH, SCULPTOR. 
 
But the time to leave for the United States was approaching, and Sarah 
 returned to spend some days at Saint-Adresse. .M Before leaving Paris 
 she selected the different articles she wished to take with her on her 
 journey. ^ Happily for her, the whirl of preparation gave her no 
 leisure to think she was leaving France, for she dreaded the voyage 
 across the Atlantic. jt.jt,j,^^jiji^^^j^^^^,^f^^^ 
 Thus Sarah sailed from France to make her debut on the American 
 stage, which became one of her greatest triumphs, j^ ^ ^ ^ j^ ^ ,^. 
 In America her arrival produced a deep sensation; everybody wished 
 to see and hear the extraordinary artist, against whom clergymen of 
 all faiths were protesting from 
 their pulpits; while the daily 
 papers were printing the most fan- 
 tastic stories about her. ^ The 
 eagerness of the public was such 
 that the seats had to be sold at 
 auction, not only in New York, 
 but in Philadelphia and Boston. ^ 
 And yet doleful prognostics had not 
 been lacking before Sarah's depar- 
 ture from Paris. «^ " Ah, you want 
 to try the New World," she was 
 warned. .M " Rachel died of it, after 
 obtaining but meager success. ^ 
 You are not stronger than she 
 was.(^Are you going there to lose 
 your health and strength?" ^ 
 Sarah turned deaf ears to all the 
 persistent efforts of such advisers. 
 They only caused a beneficial reaction. ^ The fears of timid friends 
 only inspired her to redouble her energy. jf>j.jiji.^^^^^^ 
 Rachel ! — Sarah Bernhardt ! ^ What artists! ^ Those who had heard 
 Rachel, and more especially those who had not, tried to institute com- 
 parisons between these two great tragediennes! c^ By thus parading 
 whatever knowledge the amateur of the drama may happen to 
 possess, he takes this opportunity to utter many absurdities, or is it 
 perhaps only for the sake of killing time ? =5* For how is any memory 
 equal to make comparisons of two stage artists in the same part after 
 
 CopyTight by Napoleon Sarony, If. Y, 
 
 LA DAME AUX CAMELIAS, 
 

 L 
 
 PltotogmpJied iv EeutUnger, Paris. 
 
 thirty years ? «^ Sensations are no 
 longer the same ; souvenirs may 
 either strengthen or weaken, ac- 
 cording to temperament or depend- 
 ing circumstances. .?» You were 
 young then and you are old now. 
 You were blessed with a good and 
 frank nature, caring naught but 
 to abandon yourself to the illusions 
 of youth ; now you have lost those 
 illusions or have grown embittered 
 by illness or disappointments. .5* 
 You had then scarcely one foot on 
 the ground; now you have one 
 in the grave, and decrepitude calls 
 itself experience. ^ Of what value, 
 then, can your comparisons be ? .M 
 Moreover, it is not possible that 
 two women so dissimilar as Rachel 
 and Bernhardt could have interpreted the same part in the same 
 manner. =M Interpretation is governed by feeling; and rarely have there 
 been two women more opposite in sentiment than those two great 
 artists. ^ Rachel was as petty as Sarah is generous. ^ When Rachel 
 indulged in wit, it was to the detriment of her comrades, t^ She could 
 not endure handsome people on the stage with her. t^ Speaking one 
 day of an artist whose beauty everybody was praising, she exclaimed : 
 " You find her pretty, very well, a* I admit her classical profile, but 
 such feet ! She could easily sleep standing I *' Sarah would have looked 
 at the head and cared only for what it contained, ji jn jt jt ji ji j» 
 Every artist of talent was an object of Rachel's private hatred ; she 
 wanted to reign supreme, j^ Her enemies — and they were numerous 
 — thought one day that they had found her rival in Mile. Maxime, 
 a young tragedienne of great talent. <^ The entire press, knowing of 
 Rachel's treatment, agreed to applaud Mile. Maxime, in spite of the 
 great tragedienne. ^ Rachel bore her anger long and silently, but 
 finally they found themselves face to face in Lebrun's tragedy of 
 " Marie Stuart." ^ Rachel had the title part ; Mile. Maxime played 
 Queen Elizabeth. ^ In the beginning of the performance all went 
 
smoothly, but when the scene pennitted Rachel approached Mile. 
 Maxime, superb and impressive with real anger, to declaim her lines 
 with a passion approaching unsimulated rage. ^ Astonished and 
 startled. Mile. Maxime drew back in fright. ^ She was scared by the 
 haggard eyes of Rachel, who, in aitenzy, articulating with tones of 
 sovereign disdain, screamed at her the last lines of her tirade : " I 
 plunge my poignard in my rival's breast 1 ** ^ Mile. Maxime never 
 rallied from the shock. «^ It was like a capital execution, and before 
 the whole of Paris assembled. •^«J'«^«^tS*«^«^«^«»*«^«*'«#*e*'e^^ 
 Thus Rachel excluded many artists of real value from the stage. 
 One only, an actor of great talent, 
 Beauvallet, dared to withstand her. 
 He wielded a terrible weapon, which 
 he did not hesitate, when necessary, 
 to employ. ^ The weapon was his 
 voice. ^ When Rachel had been 
 particularly refractory he would say 
 to his comrades at rehearsal, " Well, 
 we will see to-night.** <^ So in " An- 
 dromaque," also in " Les Horaces," 
 indeed, in all great scenes in which 
 they acted together, Beauvallet, 
 with his formidable voice, would 
 throw into the house accents so 
 powerful, so metallic, that poor 
 Rachel, exhausted by desperate 
 efforts to make herself heard, was 
 so conquered and crushed that she 
 would return to the wings, where 
 she would promise with tears not only never to offend again, but to 
 be kind to her colleagues, upon condition that she be allowed to be 
 heard by the public. ^ Beauvallet would then moderate his voice and 
 the performance would continue peacefully. «^ But few days were to 
 elapse before the same discipline would be again needed. =^ Rachel had 
 forgotten her promise. ^ Sarah Bernhardt is incapable of such narrow- 
 mindedness; we have already said that all artists of ability, whom- 
 soever they may be, have no warmer defender, nor more fervent and 
 sincere admirer than her. e^<^«^«^«5*e^<^e^e^e^«^o^«^«5'e?'e^ 
 
 Copyright By Napoleon Harony, N. X. 
 
 LA DAME AUX CAMELIAS, 
 
Rachel feared death as much as Sarah faces it. ^ On the occasion of 
 her last performance in America, in Charleston, Rachel played 
 ** Adrienne Lecouvreur." J- She was then consumed by the disease 
 which was, alas ! to carry her off so young ; and she was making 
 violent efforts to sustain herself until the fall of the curtain. ^ Towards 
 the end of the last act, when she cries: "No, I do not want to die! " 
 she became suddenly oppressed with a vision of the hereafter. .^ Deep 
 anguish overcame her, which she expressed with such real emotion 
 that the excited public, understanding her grief, sympathized with the 
 great but unfortunate tragedienne. ^ It was not " Adrienne Lecou- 
 vreur ** it was witnessing, but Rachel herself who was fighting with 
 
 UwaLXI* ^* v^ ft?^ ^^ ^^ f^^ tf^ t^^ v^ ^^ t^^ v^ ftp^ i^^ v^ ^^ 8^^ ^^ ^^ v^ tS^ ^^ t^^ 
 
 Sarah, on the contrary, constantly faces the idea of her coming end. 
 Yet the thought in no wise changes her habitually happy appearance. 
 Should we not tell of that ever-ready coffin ; of her bedroom draped 
 in black? ^ Rachel was Superstitious; Sarah, whatever may have 
 been said, is religious. ^ Her convent education taught her Qiristian 
 resignation and faith; to make allowance for people and to practise 
 charity. «^ Before she felt her vocation for the stage inwardly develop- 
 ing so irresistibly, had she not purposed consecrating herself to God and 
 becoming a perpetual inmate of the convent ? e^ Is it not worth calling 
 to mind, as a parallel incident to these first emotions of Sarah Bern- 
 hardt, bred in a convent, that Gounod and Renan signed their first 
 works " Uabbe Gounod," " L'abbe Renan " ? .^ And there are those 
 to-day who argue that religious instruction, even of an elevated char- 
 acter, results in harrowing the mind and killing imagination \ ji ^ j^ 
 Rachel possessed no faith; only superstition. <^ Once it chanced that 
 thirteen sat down at her table. ^ Seized with fright, she was flying 
 from the dining-room, when, foreseeing the ridicule it would bring on 
 her, she returned and continued in her seat, while trembling with fear. 
 Her friends began to tease her. .^ " Laugh all you want," she replied ; 
 *' I believe in the fatality of the figure * thirteen.* ^ Do you remember 
 the dinner at Victor Hugo's several years ago ? ^ We were thirteen 
 at table, a* See what has happened! ^ Mme. de Girardin died in her 
 zenith; Mme. Arsene Houssaye, scarce in the prime of life, in the 
 splendor of her beauty; Alfred de Musset, dead; dead also both the 
 Comte d'Orsay and Perree, such a good man ! ^ Dead, too, my poor 
 sister Rebecca ; Gerard de Merval committed suicide in the Rue de la 
 
Nadav, Jr'ai-iii: 
 
 Lanterne over a gutter. ^ As for 
 Victor Hugo, his wife and his two 
 sons, they are worse than dead. 
 They are exiled! e^ The twelfth, 
 whose name I cannot recall, has 
 disappeared in a tragic manner, and 
 here I find myself, the thirteenth, at 
 table with all of you ! =^ What will 
 become of me ? " ^ ^ ^ ^ ^ ^ ^ 
 Alas ! Musa ales (the bird muse), 
 as Paul de Saint Victor called her, 
 it was not long before she also flew 
 away Ijijtji^^jtjtjijijit 
 Sarah Bernhardt secured a great 
 triumph in America, where Rachel 
 obtained but a half-success. .M It 
 must be noted that the conditions 
 were not the same in J 855 as now. 
 The knowledge of the French lan- 
 guage, acquired through study and travel, was not to be found then 
 among the general public — a preliminary needed for the appreciation 
 to its full value of Rachel's talent. ^ At her first performance the 
 great tragedienne was upon the point of losing her presence of mind 
 through a strange little incident, e^ The audience was listening atten- 
 tively to the limpid verses of Corneille, and absolute silence reigned in 
 the house, when suddenly a strange sound arose unexpectedly from 
 all sides of the theatre to drown the voices of the artists on the stage. 
 Rachel listened, curious, in the wings, asking herself, " What does it 
 mean? J^ Why this rustle of a thousand pinions?" ^ The weird 
 noise was caused by the thousand libretti — the English translation 
 of " Les Horaces " — of which the attentive spectators were all 
 turning the same leaf at the same moment, a* Reassured, Rachel 
 recovered the plenitude of her talent, and finally conformed to the 
 new order of audience and the inevitable rustle, recurring every five 
 minutes with mathematical regularity. ^ The French language has 
 made such progress in America since Rachel's time that Sarah Bern- 
 hardt is fully convinced of it. ^ The rustle of the leaves, which 
 formerly threatened to drown the actor's voice and nearly " broke up " 
 
the scene where each printed page ended, is now a thing of the past. 
 Sarah Bernhardt's impresario realized enormous receipts at every 
 performance and the artist herself made a great deal of money, a* But 
 alas 1 she reached Paris with hands almost empty. ^ As quick as it 
 was earned in America, she sent her money to France to her family, 
 to her creditors — for she had left debts behind, among which were 
 certain obligations assumed through excessive kindness. J- Her credi- 
 tors, hearing of her success, showed themselves without pity. ^ One 
 of them had even followed Sarah to America, and he was also 
 performing an engagement, but it was not playing comedy. ^ He 
 
 came at the end of every perform- 
 ance to pocket an amount on 
 account of his claim. ^ And what 
 a claim! ^ Owing to usury and 
 numerous fraudulent charges, the 
 claim had attained to four times the 
 sum originally borrowed. ^ To 
 tell the whole story, the same credi- 
 tor was forever proclaiming his 
 scrupulous honesty, high principles 
 and small profits, along with his 
 unchangeable devotion to Sarah. 
 The great artist accepted the matter 
 upon its good side, when she saw 
 the scoundrel, by exclaiming : "You 
 here ! " ^ And he, in good-natured 
 tones: " Madame, I cannot live 
 without you I " — probably the first 
 time in his life he told the truth. ^ 
 Sarah returned, but remained only a few weeks in France, and then 
 left for Russia ; thence she went to give a few performances in Hol- 
 land and Belgium. ^ To enumerate her triumphs and tell of the 
 receptions tendered her by the sovereigns everywhere, would be to 
 repeat the story. ^ Grand dukes, princes, the highest personages call 
 on her; she asks for no audiences — she grants them. ^ She receives 
 with equal simplicity the great man and the poor artisan, often 
 prompting the rich man to help the poor man out of his misery. 
 She has produced astonishing results even in charity. <^ J^ j^ ^ ,^ j^ 
 
 Copyright by Napoleon Sarottj/, N. T. 
 
 LA DAME AUX CAMELIAS. 
 
In her life, so laboriously occupied as scarcely to leave time for sleep, 
 sadness and loneliness sometimes invaded her soul. ^ Among the 
 artists of her company there was a certain Jacques Damala, whose 
 aristocratic manners, beauty, refinement and artistic intelligence had 
 attracted the tragedienne's notice. ^ She had had occasion to see that, 
 although he kept himself aloof, he was anxious for an opportunity to 
 discreetly approach her. ^ He was timid to excess. .^ Sarah encour- 
 aged the good fellow to tell her the story of fiis life; the reasons lead- 
 ing him to adopt the stage, to leave his country, Greece, and to 
 undertake a career hard enough for a Frenchman, but most difficult 
 for a foreigner. ^ Jacques Damala 
 did not need to be asked twice to 
 speak, and found true eloquence to 
 make his confession. .^ He came 
 of a great family of Athens, and 
 had received a liberal education. 
 In his own country he would have 
 made a brilliant future; as then 
 occupied, he was fully aware that 
 with his faulty accent and absolute 
 ignorance of acting he would con- 
 tinue to witness the success of others 
 without ever being able to take his 
 share of it. =^ Yet he was happy 
 to be one of the members (if even 
 such a useless one) of the company 
 of which the star's name was 
 Sarah Bernhardt. ^ His infuriated 
 parents had withheld his income; 
 he was then living upon his meager 
 salary. ^ He had a true liking for the stage, but more yet — an irre- 
 sistible sentiment for her who was his incarnated ideal, and hence 
 he was willing to bear all privations rather than renounce living in 
 the atmosphere impregnated with the genius of the great artist. ^ ^ 
 There was such a tone of sincerity in Damala's language, his face so 
 frank, his eyes so full of fire, that Sarah was profoundly moved. 
 Yet she was unwilling to admit the fact to herseH. ^ At first she felt 
 regret for having drawn forth his confession, but, having in her reper- 
 
 UopyvigM by Napoleon Sarony, W. Y. 
 
 LA DAME DE CHALANT. 
 
toire but few plays containing dia- 
 logues that she must have with 
 Damala, the one that had taken 
 place need not be held so very dan- 
 gerous, since she fully purposed 
 never again to evoke new confi- 
 dences from the young Grecian. 
 It was too late ! ^ If Damala suf- 
 fered in not being able to speak to 
 her again, Sarah suffered more in 
 not hearing her qualities extolled 
 by "this worm in love with a 
 
 star." ^t^e^e^e^i^ ^ Ji ^ ^ 
 
 Sarah Bernhardt and Damala mar- 
 ried in the month of April, 1882. 
 In the meantime Sarah was very 
 successfully conducting the artistic 
 education of him whose name 
 she was going to assume. J- His foreign accent, which had diminished 
 in a remarkable degree, lent a greater charm to his beautiful interpre- 
 tations of the leading parts of the repertoire. .5* In his enthusiastic 
 desire to realize his wildest dreams, the young artist quite outdid 
 himself; and the public — no longer occupied with Damala's pronun- 
 ciation, whether it was good or bad — preferred to show its approval 
 of his marriage by applauding indiscriminately the newly wedded pair. 
 Their tour in the provinces having ended, Madame Sarah Bernhardt- 
 Damala returned with her husband to Paris, a* Sarah then decided 
 to become manager of a theatre, with the aid of her son ; at the same 
 time she undertook, with Damala as co-manager, the management 
 of another theatre. c5* One enterprise of the kind is generally quite 
 enough to manage successfully, but Sarah essayed two of them. 
 These two theatres soon became insufficient for her insatiable persist- 
 ence, for she acted at the same time in a third theatre, " Le Vaude- 
 ville," where she created " Fedora " on December \ \, 1882. ^ At this 
 date it had been two years and a half since Sarah left the Comedie 
 Francaise, and meanwhile she had not played in Paris. ^ Her reap- 
 pearance was a triumph. ^ As soon as the box office was opened, such 
 a line of people was formed that those who came at eleven o'clock in 
 
the morning to secure seats, were awaiting their turn at two o'clock 
 in the afternoon, a* It was of no consequence whether the play might 
 be good or bad: it was the great artist the crowd wanted to see. 
 Before the curtain rose upon the first performance, every seat had 
 been sold, even to the twenty-fifth representation, t^ If we pronounced 
 "Fedora" a masterpiece, we should risk being contradicted, not only 
 by our readers, but by the author himself, t^ However, thanks to the 
 artist, Victorien Sardou has pocketed for this vulgar melodrama, con- 
 structed upon the falsest data, a royalty exceeding a hundred thousand 
 dollars, nor is its earning power yet exhausted. ^ If Sardou ever 
 repays his obligation to her, a fortune will change hands. ^ He is in- 
 debted to Mme. Bernhardt for Rejane. ^ Mme. Rejane was languish- 
 ing in theatres where her talent remained utterly in oblivion, when 
 Sarah, manager of the " Ambigu," decided to give her the principal 
 part in " La GIu," of Jean Richepin. ^ It was a revelation. ^ Rejane 
 gained extraordinary success, and from that time Sardou hesitated no 
 longer to intrust her with important parts. ^ He even wrote a play 
 expressly for her, as that series of detached scenes called " Madame 
 Sans-Gene " proves. ^ But while Sardou stands in the front rank of 
 dramatic authors, we shall be kept far from the highest ideal in plays. 
 Yet what talent this clever constructor shows ! J- The principal actors 
 of renown die away, but the plays of dramatic authors, if of value, 
 are handed down to posterity. ^ With Sardou's dramas precisely the 
 reverse happens. ^ The value of the work has quite disappeared, 
 although the play is kept afloat by the artist, if in the fullest possession 
 of her powers. ^ In our humble opinion 
 the only work of Sardou that will pass 
 down to posterity is his magnificent 
 drama "Patrie." jijt^jtjijii^ji 
 A cabal was organized for the evening 
 of the first performance of " Fedora " ; 
 every word and movement of Sarah 
 were scrutinized to discover a pretext 
 for the expression of disapproval, t^ It 
 would have made those Bohemians 
 happy to find a fault. .^ But the oppor- 
 tunity was lacking. .M Sarah's triumph 
 was complete, and if the director of ^he „kn that la.d the golden eggs. 
 
the Comedie Francaise, who was present, did not applaud, neither 
 had he the chance to object, e^ "Fedora" had an unprecedented 
 number of consecutive performances. .^ The public left no empty seat 
 up to the last night, which came in the midst of summer, a* ^ ,^ ^ J> 
 During the run of " Fedora," Damala abandoned his purpose of man- 
 aging the " Theatre des Nations " ; for he did not even open its doors. 
 He reappeared at the "Theatre de I'Ambigu" before the Parisian 
 public and the press in " Les Meres Ennemies " of CatuUe Mendes. 
 At this theatre Sarah, lavish as directress and incomparable as stage 
 manager, obtained the warmest approbation. ^ The play, as selected 
 
 by her, contained magnificent situ- 
 ations, expressed in marvelous lan- 
 guage by the author, and the actor's 
 interpretations were worthy of the 
 highest praise. ^ Damala obtained 
 a brilliant eulogy from the press, and 
 the teacher had the right to be 
 proud of her pupil, t^ In the midst 
 of these triumphs, Sarah, with her 
 usual goodness of heart, remem- 
 bered the Sylvia of the " Passant," 
 Mile. Agar, to whom she now 
 gave the principal role in the play 
 "Les Meres Ennemies," which 
 became the greatest success of this 
 excellent artist. ^ Mile. Agar had 
 given Sarah the opportunity to ob- 
 tain her first victory, so Sarah gave 
 Mile. Agar the chance to gather 
 her lost laurels and retrieve her decayed fortune. ,^ ^ ,^ J- ^ J- ,^ 
 It was Damala's misfortune to believe himself possessed of transcendent 
 talent. ^ He lived under this moral intoxication, which some of his 
 surroundings administered, until the day came when he intoxicated 
 himself in the usual manner, a* Told incessantly that a great artist 
 could only achieve the highest flights by this double inebriety — 
 as examples of which were cited Frederic Lemaitre and Lord Byron 
 — Damala, weak-minded, succumbed easily to these pernicious influ- 
 ences. .>* Sarah fought against them as long as possible, and sought 
 
 Copyright l/y lalk, S'HS.ney. 
 
 CLEOPATRA. 
 
immmrmsmsmmrmsms^s 
 
 to tear the unfortunate man away from such base associations. ^ But 
 he was past help, and soon Sarah's jealous enemies became, naturally, 
 the friends of Damala. ^ It was too much. J^ A separation privately 
 arranged ensued. .^ Damala left the "Ambigu" and entered the 
 "Gymnase." ^ Here he was successful, playing the "Maitre de 
 Forges " with Jane Hading. ^ Having had the original, he now was 
 forced to content himself with the copy. .M Damala's native pride was 
 unbounded, yet he realized this as its fall. J^ A life of nightly revels, 
 which he was now leading with reckless companions, was so under- 
 mining his health that but little time was needed before the unfortu- 
 nate artist found himself without an engagement or a sou. ^ jfi ^ J- 
 Then the good fairy of the past, from the " Biche au Bois," appeared 
 to him in the form of Sarah Bernhardt. 
 Far from exacting any atonement for his 
 faults, she surrounded him with touch- 
 ing care. ^ She sought to rebuild his 
 enfeebled body and solace his despairing 
 " morale." ^ He took once more the 
 place at the fireside he never should 
 have left. ^ There are, undoubtedly, 
 in Sarah Bernhardt's clouded life many 
 beautiful scenes that may be recalled, 
 but where can one be found of such 
 antique grandeur?^ Endeavoring thus 
 to bring the almost moribund back to 
 life, she gave him, when he was 
 stronger and able to act, the happiness 
 of playing with her again in the "Dame 
 aux Camelias." ^ But it was no longer 
 Marguerite Gautier dying of consump- 
 tion; it was Armand Duval. .^ Damala soon breathed his last, 
 surrounded by the most tender care and affection. ^ The funeral 
 ceremony was imposing ; the body, embalmed, was dressed in evening 
 clothes. ^ Prayers were said in the house, and everything was 
 enacted according to the rites of the Greek Church. ^ Thus, strange 
 to say, the dead artist " assisted " at the reunion of the friends who 
 had come to render their pious and final homage. j>i- Ji ^ ^ ^ j^ ^ 
 Sarah had given up the management of the " Ambigu " and become 
 
 ms^j^^ 
 
 BY ANDRE GILL. 
 
the co-manager of the " Theatre de la Porte Saint-Martin." .5* There 
 she created the leading part in " Nana Sahib/* which was interpreted 
 in company with the author himself, the poet Jean Richepin. .^ She 
 played also the part of Lady Macbeth with triumphant success, causing 
 the English-speaking of her audiences to shudder at the scene of som- 
 nambulism; but Sarah was not satisfied to exhibit this scene as 
 detached from the great tragedy in its entirety, considering it the 
 breaking of every artistic law, and to these laws her life was most 
 submissive, jij^jft-ji^^^j^j^j^t^^t^^^j^^^^^j^ 
 Sarah followed with " Theodora," which she was obliged to perform 
 almost continuously for a year. ^ But during this period of compara- 
 tive idleness she found time to exhibit " The Infant Mars," a bust in 
 marble; "Henriette," a cast of a bust; she also writes a play and 
 publishes a book. .5* Jules Claretie, who wished her to perform the 
 principal part of a play, "Debora," which has never been given, thus 
 speaks of her : " Surely this feminine body, so frail-looking, this ever- 
 ailing woman, will have spent during her career not only ten fortunes, 
 but twenty women's lives. J- A robust horse-woman might have 
 died of similar exhaustion. ^ With Sarah it is different ; the nerves, 
 dominated by a strong and powerful will, infuse her entire being 
 with electrical activity. ^ To her rest seems but another form of 
 death : that which is not paroxysmal means lethargy. =M She dreams 
 of the impossible, and, insatiable, she would centuple the hours of her 
 life by overloading those she is permitted to live." J- ,^ j^ j^ ^ ^ ^ 
 I remember the surprise of an English teacher from whom Sarah 
 purposed taking lessons, in order to play Shakespeare in English, as 
 she said, *' I wish to learn English very, very quickly." ^ " Mile. 
 Bernhardt, I would gladly give you lessons, but I can spare but half 
 an hour every day." ^ " Well, then," said she, " you must try to let 
 me have the half hour from 2 to 2:30 A. M., for it is the only time I 
 am not engaged." <^t^^^^j^^<^,^^,^^j^^^ji ^ ji 
 That half hour she had only to herself ! .^ And yet, was it always 
 hers ? ^ How often, after a performance, has Sarah been occupied 
 with theatrical details which had to be discussed, essential to the 
 rehearsal of some play — daylight often surprising her before she had 
 thought of it. ^ Nevertheless, she was ready, most probably, to 
 repeat this revel of toil the next night. ^ " It is a strange spectacle," 
 an eminent critic has said, " to note that ever-active brain ; that head 
 
seething with projects and plans ; that tornado of thoughts and deeds 
 by which she carries a world in her train ! ^ It is inconceivable that, 
 leading a life of feigned agitations which surcharge all her work, 
 moved by violent yet simulated passions, exhaling them with a freedom 
 and violence of speech that should exhaust her, she yet retains, in the 
 practice of her art, the finesse of diction, the gracefulness of gesture 
 and attitude which one can only acquire and display with a rested 
 mind. . . . One might hunt the annals of dramatic art in vain to 
 find a similar instance of a life of such audacity of movement as she 
 shows to the public." ji^^^ji^^^j^^^^jij^^ji^ 
 Sarah incarnates the character in hand to the point of identifying 
 herself with it, hence allows no dialogue to be spoken without 
 consciousness, and even fervor. ^ She had been dissatisfied with the 
 slipshod work of several actors of her company, who were going 
 through their scenes too carelessly, and bethought of this method 
 to awake them from their torpor by ordering an irritating powder 
 dropped down their bare backs. ^ Then, indeed, they gesticulated 
 enough, even too much ! ^ But the lesson was not in vain, and the 
 big schoolgirl, that Sarah is, wildly enjoyed the novel punishment, 
 which had the desired effect. ^^j!.j.jijt.ji^^^j,^^^^ 
 Even when Sarah plays twice during the same day, it often happens 
 that she rehearses also with others of the company, thus employing 
 the interval between the two performances. ^ But then she has her 
 dinner brought to the theatre. ^^^^j)i^^^^j)i^jiji^ji 
 When she presented "Frou-Frou" at the "Theatre de la Porte St. 
 Martin," the artist who played Brigard — the father of Frou-Frou — 
 was not giving the desired airiness to his part. <^ The actor was 
 playing the role of an old beau, but one that was precise and formal. 
 He was spinning it out instead of concentrating it ; Sarah resolved to 
 make him drink champagne to everybody's health, however, except 
 her own, and after that there was no more prosy work that night. 
 He had swallowed so much champagne that he allowed a cork to 
 explode over the public! ^ Brigard had been playing like a teacher 
 of elocution, but was now metamorphosed into the old " viveur," who 
 had forgotten yesterday's pranks only the better to think up those 
 of to-day and to-morrow. ,^,^^ji^ji^^^^j^ji^^ji^ 
 Sarah performed quite a number of this sort of miracles, and always 
 galvanizes her surroundings. .^ But many artists who succeeded 
 
when playing with her have lapsed into oblivion when away from 
 this influence, or when they were trying to make their way alone ; 
 but Sarah bears them no ill will ; often, indeed, she re-engages them, or 
 else she aids them in some way. a* One of the seceders, an actress, 
 had fallen into poverty. <^ A benefit performance was arranged for 
 her, but the artist herself had not the courage to invoke Sarah's 
 assistance after deserting her company. ^ A friend timidly undertook 
 the mission. ^ The first words were scarcely uttered before Sarah 
 gave her acquiescence. ^ " The poor woman ! »?* But I do not wish to 
 play an old piec?. «^ I will give something unknown and unpublished. 
 
 Yes, I will gladly give my assist- 
 ance. ^ Bill me that way immedi- 
 ately ; it will help the sale of seats 
 and I will be happy, very happy ! 
 But what shall I play ? =^ It is too 
 late to think of a special attraction. 
 Let it be some poetry. »?* I will 
 recite something anyhow, without 
 entrainement ; well, then, so be it ! " 
 Since something of a " scratch per- 
 formance " had been advertised at 
 first, the sale of seats had been poor; 
 now it proceeded with a rush. ^ 
 The magical name of Sarah had 
 worked the miracle. J^ The night 
 the benefit took place Sarah was 
 much fatigued, having played at her 
 own theatre a prostrating role that 
 consumed her strength more than 
 usual, c^ It was one o'clock in the morning when Sarah said to those 
 who had come to fetch her in haste to the benefit : ''But how is your box- 
 office?" ^ "Magnificent." ^ "Well, that is all I wanted! ^ I will 
 not go, and, what is more, nobody will dare to ask the return of his 
 money at this late hour. ^ Besides, I take the responsibility of what- 
 ever may happen; moreover, I now inflict the fine of five hundred 
 francs on myself for the benefit of the artist who has forfeited my 
 services. ^ She will have that much more profit, and I shall not 
 have the trouble of going like a debutante to spout my little poem. 
 
 Downey t London, 
 
 THEODORA 
 
Everybody will be satisfied ; even the public, which cannot know the 
 infliction I am sparing the audience." ^ Was it a caprice ? J- Not in 
 the least. «^ Sarah was not saving herself trouble. ^ She did not feel 
 impelled to assist at a colS ceremony whereat she could convey to her 
 audience no artistic sensation ; to do this, she must feel it first herself. 
 She had done a doubly charitable work : in promising her services in 
 an undefined way, which had assured the sale of seats; and by 
 laying herself open to the malignity of a disappointed public, a* That 
 which often seems unreasonable with her is rational, but one must 
 be well acquainted with the great tragedienne to appreciate her 
 singular points of view. ^ Some 
 eminent minds have intuitively 
 understood this exceptionally 
 gifted nature: Ernest Renan 
 was one of them, a* If the let- 
 ters he wrote about Sarah 
 Bernhardt were not of a confi- 
 dential nature they would have 
 been published. =^ But we may 
 tell this much, that Renan ex- 
 pressed his ardent enthusiasm 
 for the electrifying artist; the 
 woman so admirably fitted for 
 the struggle; the pre-eminent 
 conqueror, roaring like a lion- 
 ess, tender as a lamb, and 
 compassionate as the Holy 
 Scriptures. ^ Ernest Renan 
 had written "UAbbesse de 
 Gonarre" when thinking of Sarah Bernhardt. ^ She alone could 
 infuse theatrical life into his philosophical dialogues, and give them 
 the illusion of dramatic movement. ^ She could make the audience 
 shudder at the final scene. ^ But Renan had not that happiness, and 
 Sarah did wisely in not attempting the conquest of the public lest the 
 dreaded defeat might follow. ^ It would have been to the grief of the 
 illustrious savant. >^^^^^^^,^j)i^^^ji^ jt, ^ ^ ^ 
 Another passionate admirer of Sarah, but moving in an entirely 
 different sphere, was Henri Rochefort. ^ He brought to the great 
 
 JEANNE D ARC. 
 
artist a drama called " L'Insurrection," of which Sarah was to be, of 
 course, the principal interpreter. ^ To refuse the great pamphleteer's 
 play called for courage. ^ Sarah was always wise enough to keep 
 aloof from political intrigues and from taking sides in the melee of 
 parties. ^ Rochefort's play, as its title indicates, was designed to 
 produce a disturbance, while assuring additional popularity to Sarah ; 
 yet she had not a moment's hesitation in refusing the play, and it 
 must be said to Rochefort's credit that he accepted her refusal in 
 a gracious and good-natured way, and the amiable and pleasant rela- 
 tions between author and artist suffered no interruption ; he took back 
 his drama; and as he has not yet found an acceptable interpreter, the 
 work probably remains in his portfolio, if it has not been destroyed. 
 Is it necessary to enlarge upon Sarah Bernhardt's success in "Jeanne 
 
 d'Arc,' 
 
 m 
 
 La 
 
 Tosca," in " Pau- 
 line Blanchard," 
 i n " Cleopatra," 
 in "L^ah," in 
 "La Dame de 
 Chalant"?.^The 
 pictures arranged 
 at the end of this 
 volume will re- 
 vive these sou- 
 venirs of recent 
 uninterrupted 
 triumphs, which 
 most of our read- 
 ers have wit- 
 nessed, and to 
 which they have 
 in a great meas- 
 ure contributed. 
 We now reach 
 Sarah's marvel- 
 ous management 
 of the Theatre de 
 la Renaissance, t^ 
 
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 (Victorian Sardoui. 
 
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a^ t^ t^ t^ t^ t^ 6^ t^ a5* eM a^ t^ t^ e5* *5* ^* «^ e^ t^ t^ 
 
 E find Sarah once more a theatre manager. »^ But she 
 does not attempt it as a commercial speculation; on 
 the contrary, it is well known that she is making 
 a money sacrifice to be rid of the tutelage of an 
 impresario. ^ Sarah could never endure petty calcula- 
 tions, so foreign to questions of art, although they are the constant 
 preoccupation of the manager, "how to make the most money," 
 leading him widely astray. ^ To give the works of the same author 
 constantly, never to vary the theatre's repertory, means to expose 
 it to the fatality of public neglect ; indeed, such a course compromises 
 the prestige of an artist. ^ What does it matter to Sarah to earn less 
 money, provided she has the satisfaction of presenting poetical works 
 — works of the highest imagination ? .^ When so doing, she did not, 
 however, abandon her usual purveyor, as we shall see. ^ jf- ^ ^ J- 
 The difference between the inspiration of the poet and the cool 
 calculation of the dramatic adjuster cannot be exaggerated. ^ In proof 
 of which, who has not been impressed with the virile poetry of 
 " Izeyl," or who has not been elevated to a higher sphere by the breath 
 animating this splendid work ? ^ Its dramatic situations are evolved 
 by simple and natural means. J- Why employ artifices for these ends 
 which no longer dupe the public ? ^ And what an enduring memory 
 is left to him who hears Sarah deliver those lines as she alone can 
 pronounce them ! ^ After an evening passed in listening to " Izeyl," 
 one carries away an impression not to be effaced by any hearing 
 of a drama of Sardou. J- From Sardou one receives none of the 
 sweet and languorous quiver given out by the delicious music of 
 French verse : you get instead the well-prepared theatrical climaxes 
 in a play built up entirely for Sarah Bernhardt ! ^ Does the artist owe 
 gratitude to the author of " Theodora," or does the latter not rather 
 owe it to the interpreter ? ^ We put the question and leave it to the 
 reader to solve. ^ Another interesting experiment of Sarah's was her 
 representation of Sudermann's drama, "Die Heimath," or "Magda." 
 
Her patriotic sentiments are well known; they are not false pretenses. 
 She wished to note the effect in France of the work of the favorite 
 author of Germany. ^ For Art has no nationality, and no delimita- 
 tions through frontiers ; it breaks down all barriers. ^ ^ ^ ^ j, ^ 
 Sudermann came to Paris to direct the rehearsals, and showed the 
 way. to conceive and interpret his play. «^ Sarah never disagrees with 
 an author about the characteristics with which he has endowed his 
 heroine, nor to the mode in which she should be presented to the 
 public. ^ Sarah submitted entirely to Sudermann's advice. ^ He 
 congratulated her sincerely upon her faithful interpretation of his 
 thought. (^ What mean, therefore, the reproaches that Sarah has 
 disguised, disfigured or violated the play?.e^ Those who preceded 
 her in "Magda" must have been wrong, since Sarah's concep- 
 tion closely followed the instructions of the author. ^ The truth is, 
 the play of "Magda" is a matter-of-fact and conventional work, 
 containing some interesting details of German ways and customs. 
 It is not the male conception of a masterful brain, a* What the public 
 desires in going to the theatre is to live for a few hours in dreamland. 
 Of what use, then, is reality, or, worse still, realism, and why, 
 above all, incarnate characters which are not worth serious study, 
 and which are perpetually contradicting themselves ? <^ And Magda, 
 therefore, when she returns to her father's fireside — when she comes 
 back to the good old man, her own father (a sort of German Joseph 
 Prud'homme, as Erckmann-Chatrian paint him) — should cease pos- 
 ing as a queen of the footlights. J- Magda is supposed to be able 
 to play comedy ; then why play it so badly ? ^ She seems not to know 
 that her language and her toilette ought to conform to her present 
 surroundings. ^ She is not there to personate an artist before the 
 public, but a daughter in the presence and home of her father. > ^ ^ 
 Sarah desired to appear at the "Renaissance" with Coquelin, her old 
 comrade of the Comedie Francaise. ^ On the occasicJn they were to 
 play the "Amphitryon" of Moliere, a singular occurrence took 
 place. ^ When Sarah appears with her excellent stock company 
 every seat is taken in advance. ^ It was supposed that the double 
 attractions, Sarah Bernhardt and Coquelin together on the same 
 billboard, would crowd the house for the run of the play. ^ But this 
 was not the case. ^ The reason of the sudden indifference of the 
 public being that Sarah was to play a role of relative unimportance. 
 
She had practically effaced herself in order to gfive the leading part to 
 Coquelin. ^ The first representation did not excite the slightest public 
 curiosity, which Gaquelin resented deeply. ^ The disappointment 
 made him ill of the theatrical malady, from which the artist so slowly 
 
 recovers* ^^ . ^^ ^J* ^3* a^* tS^ ^* v* aS* a^ flp* ^* o^ ^* t^* ^* ^* c^ t^* 4^ fl^ ^* 
 
 Sarah regained prestige and applause when she reappeared in 
 "Phedre." e^* But when will she give us "Andromaque" or 
 "Esther"? J- And were she willing to attempt "Athalie,'* with 
 Mendelssohn's music, what theatre would be vast enough to contain 
 the spectators who would hasten to it in crowds, and for many 
 representations ?j6,^^^ej*^j6,^^ 
 After obtaining further renown in the 
 " Princesse Lointaine," which was her 
 last "creation," Sarah left for Spain. 
 While in Madrid it was decided to pro- 
 duce " Amants " in Paris, at her theatre, 
 "La Renaissance," a new play which 
 was billed in advance during four months. 
 She had excellent lieutenants, but the 
 general was absent. ^ Supposing that 
 some slight modifications may be neces- 
 sary to assure success, she adjourned 
 her Madrid engagement, thereby sacri- 
 ficing ten thousand dollars; but what 
 mattered it ? J- She must arrive in Paris 
 to direct the last rehearsals of " Amants," 
 because a scene may not be to her lik- 
 ing; indeed, she postponed the first performance. ^ A scene was 
 condemned and a new one must replace the discarded one, and during 
 the time needed for its preparation the actors are paid, although the 
 theatre is closed. J- Her cashier deplored her extravagance, but Sarah 
 was preparing a consolation for him in stimulating the zeal of all 
 the artists and animating them with her faith in the play, which led 
 to a complete victory. J^^^Jt-t^Ji^^^ji^ji^^jt.^^ 
 In this ultra-Parisian comedy Sarah had given the most important 
 role to an operetta artist. ^ With habitual clear-sightedness, Sarah 
 had discovered that Jeanne Granier was far too good for such occupa- 
 tion. ^ Jeanne Granier, a consecrated artist, now charmed and 
 
 THE FRAIL SARAH AND THE BUTTERFLIES. 
 
NadaV) Parts. 
 
 LA PRINCESSE LOINTAINE. 
 
 astonished the public, and Sarah 
 was able to leave for America with- 
 out fear ; she had replaced with a 
 rising star the one departing for 
 the western continent, jfi ^ jt. ^ ^ 
 "She undertakes once more her 
 long journeys and fatigues/* says 
 Arsene Houssaye. J- '* This wo- 
 man, so frail, so delicate looking, 
 hurls thunder and lightning ; when 
 on the stage she is mistress of one's 
 very soul ; her voice is sometimes a 
 caress and again a sword-thrust. 
 Often one is led to believe the trage- 
 dienne out of breath, exhausted; 
 she is stronger than her spectators, 
 should she wish to strike them to 
 their hearts* core by some word of 
 character and nature. ^ Everything she touches is transformed into 
 gold ; ask Coppee if she has not given him his halo, a* She must 
 have stirred Racine in his grave, for she has been his own Phedre ; 
 she enchanted Victor Hugo when incarnating the Dona Sol of his 
 dreams. ^ She has her enemies and critics ; but the more they shatter 
 her statues, the more she rebuilds them, ^^^juj^^jij^jijiji^ 
 But it is not among enemies we could place the eminent academician 
 Jules Lemaitre, whose play, " Les Rois," she interpreted with her habit- 
 ual authority at the ** Renaissance," and who thus expressed himself: 
 " Heaven has endowed Sarah Bernhardt with extraordinary gifts: she 
 has a strange beauty, a surprising suppleness and slenderness, and a 
 face stamped with the mysterious grace of a bohemienne, gipsy, a 
 something unknown, which reminds one of Salome, Salambo, or of 
 the Queen of Sheba. eM She disguises herself or makes up beautifully. 
 Above all, she breathes that voice which is a caress, which touches 
 one's senses like soft fingers ; a voice so pure, so tender, so melodious ! 
 But the great originality of this artist, so essentially personal, is that 
 she does what none other has dared — she acts with her whole body. 
 With Sarah Bernhardt, it is the woman who plays. .^ She throws 
 her whole personality into the play. ^ She embraces, clasps, swoons, 
 
^i{^-y,- .^ft^is^r'M 
 
 Copyright, 1896, J. C. Beinment, N. Y. 
 
 writhes or dies; or she winds herself 
 around her lover like an adder. ^ 
 Even in the scenes where other 
 passions are to be expressed than 
 those of love, she does not fear to 
 show that which is most sacred, 
 secret in the feminine nature. ^ 
 These are the astonishing novelties 
 in her acting ; not only throwing 
 her soul into the character, her 
 whole being and all of her physical 
 grace, but her entire sex." j^ j^ j^ 
 Could we end this study of Sarah 
 with more convincing citations : 
 From Arsene Houssaye, who had 
 been the Director of the Comedie 
 Francaise at the time when Rachel glowed in all the effulgence of her 
 magistral talent; from Jules Lemaitre, the writer, the universally 
 known and appreciated critic, the worthy successor of Sainte Beuve ? 
 The students of France have organized a great movement ; its object, 
 that their idol, Sarah Bernhardt, should be decorated with the Legion 
 of Honor, e^ No dramatic actress till now has received this distinction, 
 but is she not the greatest of our epoch "in^j^^j^,^^^^^^^ 
 When the company of the Comedie Francaise was, in J 879, in London 
 giving its representations, Sarah prepared the design of the frontispiece 
 for the album destined for the Prince of Wales. ^ She chose as her 
 subject : Glory, with unfolded wings, crowning the busts of Shake- 
 speare and Racine. J- Nor did she then dream that Glory, with 
 unfolded wings, would salute the incarnating of their " chefs- d'oeuvre " 
 by Sarah Bernhardt. <2^t^J^^^Ji^t^t^^,^^,^j^,^^j^j^ 
 
 IN LIEUT, BETTINl S STUDIO. 
 

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 IZEYL. 
 

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{|: Caniiot detect the slightest discoloration^^B^r upon \ . 
 
 teeth cleaned with 
 
 '.^SS-Si&SH 
 
 >IISS;MARIE STTJDHOLME, the English Actress, now in this country, has beautiful teeth. 
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 is a wonderful protection to the 
 skin from the ravages of the wind, 
 sun, and weather. 
 
 Dr. Campukll's Safe Arsbnic Wafers and Fould's Arsbnic Soap are the 
 only Real Beautitiers of the Complexion, Skin and Form. They are simply 
 wonderfal for removing Freckles, Blackheads, Pimples, Vulgar RednebS, 
 Rough, Yellow or muddy skin, and, m fact, all blemishes, whether on the 
 Face, Neck, Arms or bociy. Wafers, by mail, %\\ six large boxes, Sj; Soap^ 
 50c, Address all mail orders to H. B. Fould, 214 Sixth Avenue, New York, 
 
 SOLD BY DRUGGISTS EVERYWHERE. 
 
ALL QUALITffiS. 
 Galors: White, Black, Gray.. 
 
 Size 3, for figures under 115 pounds. 
 
 " 4, " " from 115 to 130 pounds. 
 
 " 5, " •• " 130 to 150 
 
 " 6, " " " 150 to 165 " 
 
 Extra Sizes, 7 and 8, for over 165 pounds. 
 
 Misses', in Sizes 2, 3, 4, 5, 6, 7, 8, fitting 
 ages from 3 to 15 years. 
 
 \^ 
 
 ALL QUALITffiS. 
 Colors: White, Black, Gray. 
 
 Special patent gusset at crotch. 
 
 I 
 
 ,«i 
 
 «\T/» 
 
 Sold by the Leading Jobbers 
 
 throughout the country. 
 
 MILL AGENTS: Jas. F. White & Co., 
 
 54 Worth Street, New York. 
 
c 
 I 
 
 The Reasons 
 Why: 
 
 i3 
 
 s 
 
 o 
 J 
 
 e» 
 
 '3 
 
 -1 
 
 I 
 
 I 
 
 9 
 
 ■3 
 'J 
 
 '3 
 
 I Absorb like a Sponge and Destroy all | 
 I Odor of Perspiration. 
 
 C I. They are Covered with STERILIZED 
 
 I SORBENT LINT. 
 
 Ji 2. This Lint is treated with Amolin — a new pow- 
 
 C erful, Harmless and Odorless Antiseptic. 
 
 ^ Wnrrarifv We pay for damage sustained by any garment 
 
 S »' ol ' amy . through j-mperfection of Amolin Shields. 
 
 tAMOLIN*^ 
 
 A the onl y ■ h 
 
 'A Ooorless Antiseptic A 
 
 yOressShieli 
 
 AB- 
 
 I 
 
 = ■ ■ —- - — "-^ - through imperfection ( 
 
 C r5lllfinn *^"'' Patent January 26. i8q2, is the only patent 
 
 ^ waUllUili ever granted for odorless antiseptic dress shields. 
 
 C lnfring;einents will be rigidly prosecuted. 
 
 € NEW YORK SHIELD CO., | 
 
 ^ Sole Manufacturers, 166 GREENE STREET. J 
 
 I The Wonderful! 
 
 I ODORLESS ANTISEPTIC | 
 
 +Amolin+ 
 
 I POWDER, 
 
 I ^(9i2 TOILET AND NURSERY. 
 
 I Destroys all Odor of Perspiration. 
 
 f SOOTHING HEALING AND HARM- 
 
 r LESS FOR CHAFING, SCALDING 
 
 AND ALL 
 
 I ERUPTIVE 
 
 1' 
 
 e 
 e 
 
 NEW YORK SHIELD CO., 
 
 «OLE HANUPACTURERS, 
 
 • 166 Greene Street. 
 
 I 
 
 <3 
 
 I 
 <3 
 
 SK/TV DISEASES. I 
 
 o 
 
 9 
 
 IT'S NEW ! 
 
 "The tone of the Meloharp is remarkable, and 
 has an individuality wholly its own, and unlike any 
 other musical instrument. It is an artistic instru- 
 ment in the fullest sense of the term." — Music 
 Trades, March 2J, iSgb. 
 
 LATEST AND GREATEST... 
 
 The 
 
 Meloharp. 
 
 WHAT 15 IT? 
 
 It is a new musical instrument of beautiful design, 
 great power and exquisite tone, upon which 
 you can learn to play accompaniments for the 
 voice or any other musical instrument in an 
 hour, and can master sufficiently to play the 
 popular airs in a single evening without a 
 teacher. This is made possible by our new 
 system of music which is easier to learn than 
 ABC 
 
 If your music dealer cannot supply you, write us 
 ^ for catalogues, prices, etc. 
 
 The Meloharp Co., 
 
 Home Office: 33 UNION SQUARE, 
 NEW YORK. 
 
I WANT THE GENUINE 
 
 maKe tte Waist aq locii Smaller. 
 
A. W. B. 
 
 BOBLEVABD 
 
 VELVET 
 
 (Quality "99") 
 
 The Newest Production in Velvet 
 
 ESPECIALLY ADAPTED FOR HIGH-CLASS COSTUMES 
 AND TRIMMINGS ^j-^j^^^j^j-^^j^j. 
 
 HAS THE CRISP TOUCH, HNISH AND APPEARANCE 
 OF SILK VELVET j-j-^^j^j-j-j^j^j-j-^j-' 
 
 V 
 
 ELVET COSTUMES no longer a Luxury. ^ 
 ^ Price of AW. B. BOULEVARD ^ 
 
 Velvet within the reach of all. 
 
 f2f^ 9^^ v^ 
 
 Jet Black, Blue Black and I20 Latest Parisian Shades. 
 
 Selvage of each yard stamped : 
 
 A. W. B. BOULEVARD VELVET, 
 WEAR GUARANTEED. 
 
 If your dealer cannot supply you, write to P. O. Box 1262, 
 New York City, and we will send you name of nearest dealer. 
 
WHAT SARAH BERNHARDT THINKS OF 
 
 Le Bihan's Umbrellas. 
 
 Cincinnati, O., le 14 Avril, 1896. 
 Monsieur Charles Le Bihan, New York. 
 
 Cher Monsieur: — II m'est agreable de con- 
 stater la "perfection de vos produits. 
 
 L'elegance et la solidite sont leurs qualites 
 dominantes. 
 
 Vos parapluies ont le cachet eminemment 
 parisien, et je suis heureuse de voir un com- 
 patriote a la tdte d'une importante Industrie 
 en Amerique. 
 
 Recevez mes meilleures salutations, 
 
 Cincinnati, O., April 14th, 1896. ' 
 Mr. Charles Le Bihan, New York. 
 
 Dear Sir : — It gives me great pleasure to 
 testify to the perfection of your products. 
 Elegance and strength are their predominant 
 features. 
 
 Your Umbrellas have a style eminently 
 Parisian, and I am happy to see a compatriot 
 as the foremost leader of such an important 
 industry in America. 
 
 Please accept my best wishes, 
 
 PERSONS OF TASTE CARRY 
 
 IBap^^ 
 
 St. wear B'wav 
 
 206 Cast |4tb St..near39L. 
 
 UMBRELLAS 
 
 LIGHT, 
 
 STRONG, 
 
 GRACEFUL, 
 
 CHIC. 
 
 N. B.- LADIES' UMBRELLAS SUITABLE FOR BIRTHDAY AND HOLIDAY 
 PRESENTATIONS IN BEWILDERING VARIETY. 
 
 I Barclay Street, 
 
 Near Broadway. 
 
 206 East 14th Street, 
 
 - Near 3d Ave. " L" Station. 
 
Ladies, 
 
 Ask your merchant for the 
 
 ^'CAMEO 
 
 ff 
 
 TRADE MARK. 
 
 Hook and 
 Eye. 
 
 It has a short, narrow bill ; is strong, durable and 
 provided with a safety spring that prevents it from 
 becoming accidentally unfastened. 
 
 It is UP-TO-DATE in every respect. 
 
 ON EVERY CARD 
 
 IS ATTACHED A PATENT NICKEL=PLATED 
 
 AUTOMATIC SEWING HEASURE, 
 
 useful in all kinds of sewing and fancy work. 
 
 Price only 10c. for a card of Hooks and Eyes 
 with the measure on it. 
 
 Refuse any substitute for the " CAMEO." If 
 you can't procure it from your dealer send JOc. in 
 silver or stamps to 
 
 1 ne V^ameO, New York, 
 
 and receive same by return mail, post-paid. 
 
 A Wonderfully Quick Seller. 
 
 You want it* 
 
 Your customers would, did they 
 but know its wonderful properties* 
 If you have any question about it 
 try yourself a sample bottle of 
 
 EVANOLA. 
 
 EVANOLA Mfg. Co., ^' ^ ''' ^Ki^^tn. y. 
 
 DUNHAM, BUCKLEY & CO., 
 
 Sold by the following Jobbers: 
 THE H. B. CLAFLIN CO., 
 
 SWEETSER, PEHBROOK & CO. 
 
LABLACHE FACE POWDER. 
 
 The Queen of ^| 
 
 LET POWOl 
 
 A CLEAR, HEALTHY COMPLEXION. 
 
 EAUTY lies more in the complexion than in the features. What is more beautiful than a fresh- 
 looking face free from blemishes ? Ladies who use the Lablache Face-Powder never show any 
 facial blemishes. This powder produces a clear, healthy complexion and imparts to the skin that 
 quality which indicates an acquaintance with the higher refinements of life. This powder is pure, its 
 presence on the faee cannot be detected ; it is in effect one of the most reliable of complexion beautifiers 
 in the market and one of the most popular of toilet requisites. Lablache Face Powder has stood the 
 test of 25 j'ears, and has reached a sale of over one million boxes annually, strictly on its merits. 
 
 Mile. Zelie de Lussan 
 writes : 
 
 Messrs. Ben. Levy & Co., 
 
 Dear Sirs: As I have been using your 
 beautiful Lablache Face Powder for a long 
 time, I am firmly convinced that it has not 
 its equal in this or the old country. You 
 will therefore allow me to offer you my best 
 wishes for its future success. 
 
 Believe me, very truly yours, 
 
 Zelie de Lussan. 
 
 The Famous Lablache Face Powder is made in four 
 Shades— Flesh, White, Pink and Cream. 
 
 PRICE, FIFTY CENTS PER BOX, 
 
 OF ALL DRUGGISTS OR BY MAIL. 
 
 Mme. Sarah Bernhardt writes : 
 
 Monsieur Benjamin Levy a Boston. 
 
 Votre poudre Lablache est absolument de preriiier ordre. 
 EUe est delicieuse et je la prefere a. toutes autres. 
 
 Des que j'arrive k New York, je m'adresse a vous. J'ai le 
 plaisir de constater que votre preparation est remarquable- 
 ment soignee. II en est d'ailleurs ainsi pour tons les produits 
 de votre fabrication. 
 
 Expediez moi de suite a Cincinnati trois douzaines de 
 boites nuance creme. 
 
 Avant mon depart pour I'Europe je vous adresserai une 
 commande importante. Recevez tous mes compliments, 
 
 ^^'- 
 
 "^^^-^g^;^-—^ 
 
 -^ 
 
 BEN. LEVY & CO., 
 
 Sole Proprietors, DOStOIl, iViHSS. 
 
 JUST IMPORTED FROM PARIS. 
 
 ED. PINAUD'S 
 
 ESSENCE 
 
 "VIOLETTE RHINE" 
 
 Is offered as the Finest Violet Perfume in the World. Jt It pos- 
 sesses the true odor of the living flower, something that 
 has long been sought for, but never obtained until now. ,^ J^ ^ 
 In Paris it is the fashion ; Everybody who is anybody is using it. 
 When not obtainable at your dealer, correspond with ^ ^ Ji- ^ 
 
 Ild^ r in3.ud S New York Importation Office. 
 46 East 1 4th Street, Union Square. 
 
Sarah Bernhardt to J. Q. Mouson & Co. 
 
 
 ^/^-^- 
 
 (Translation.) 
 
 Boston, 4th April, 1896. 
 Messrs. J. G. Mouson & Co., Paris, France . 
 
 It will astonish me very much if Mouson's Bouquet Carmen 
 Sylva does not become the fashionable perfume in America as it is 
 now in France, for it has many attributes which all women love — 
 beauty, refinement, delicacy and constancy. 
 
 Accept, again, my compliments, 
 
 Sarah Bernhardt, ii 
 
 If your dealer cannot supply you address our United States Office, 
 
 J. Q. MOUSON & CO.,? 
 
 18 TO 24 WASHINGTON PLACE, 
 
 W^S^^^ 
 
 MEW YORK CITY, 
 
 OpSON & Ce Frankfurt */* 
 
 ^ PAt^ IS Londo n 
 
"Name on every Piece." 
 
 LOVNEY'S 
 
 HOCOLATE 
 
 ON-BONS 
 
 cSi t^^rl— . 
 
 THE WALTER M. LOWNEY CO. 
 
 Boston — 
 
 ===Chicago 
 
standard of the World. 
 
 Pope Manufacturing Co., 
 
 General Offices and Factories : Hartford, Conn., U. S. A. 
 
 Branch Houses and Representatives in almost 
 every important City in the World. 
 
MRICA'S FINEST PRODUCTION 
 
 RICH AND MELLOW, 
 
 TOUCHES 
 
 THE 
 
 SPOT 
 
 SOLD EVERYWHERE 
 
ilHWeeclCreanr) 
 
 USED AND ENDORSED BY 
 
 i 
 
 Madison Sqthhe y /^ ^f'^ 
 
 NEW YORK .y/^.£^^^^^^' 
 
 ^ 
 
 O^^^^ 
 
 nnE. 
 
 FASHIONS CHANQE, but a pure skin 
 is never out of date. The skin needs, as 
 much care as the teeth and hair. Its 
 defects are more conspicuous and dis- 
 pleasing. 
 
 MILK WEED CREAM is the natural 
 Skin Food. It removes Blackheads, Freck- 
 les, Tan, Pimples and Wrinkles. Is 
 fragrant and soothing. A luxury that 
 costs 50c. and yields $10 in pleasure and 
 satisfaction. 
 
 By mall or at Druggists. 
 Write for Sample. 
 
 L 
 
 FREDERICK F. INGRAM & CO., 
 
 DETROIT, niCH 
 
 J 
 J 
 
 % 
 
 t 
 t 
 
 i 
 i 
 
vSibvUine 
 Tonic 
 
 Is a purely vegetable CURE for all skin ills— does 
 not COVER UP imperfections, but thoroughly 
 eradicates — leaving the skin beautifully clear, firm, smooth and 
 healthy— is prepared by an experienced chemist — absolutely health- 
 ful to the skin. 
 
 TRADE MARK. 
 
 The Sibylline Co., 
 
 I Madison Ave*, 
 NewYork* 
 
 •••*•••**•*•*•«•• 
 
 piFTY CENTS A BOTTLE 
 ^^^^KV DRUGGISTS, 
 
 And wherever Toilet Articles 
 are kept. 
 
fffi» ei» fi» «$» - fi» «^ «>!l» «i» *i» fi» fi» 
 '♦'T'-r'r-r-r'r-t'-r-r-r 
 
 f$» e?/» ^f/» f\t/» fi» «$» fi» fJ/» »$♦ cnJ* ff$i 
 
 EN -3m 
 
 THROAT EASE and 
 B REATH PERFUME . 
 
 An exquisite medicinal confection* 
 
 Sold by all dealers throughout the world* 
 
 IN FIVE=CENT PACKAGES ONLY. 
 
 Manufactured at Rochester, N. Y., U. S. A., by S E N " S E N C O* 
 
 •i» «ffi» ri» fi» f$» c\t» . »\t» «\t» »f» «$» «>t» 
 
 fffi» w/» fS» fi» fi» ^t» *\t» fi» *f» *f/» *\t» 
 
MME. CAROLINE 
 
 CompIexion«^«^ 
 e^e^e^Specialist* 
 
 BEAUTY consists first, in a charming complexion, pink 
 and white, free of all blemishes, like the exquisitely 
 tinted petals of the camellia. Intellect rules the world; 
 beauty rules intellect. Consequently it is the talisman 
 that every woman wishes to possess. This question is 
 solved for all time by the 
 
 Ne Plus Ultra 
 
 ===Face Beautifier, 
 
 the acme of all known preparations. This lotion positively 
 removes the deepest wrinkles and all traces of age, all 
 facial blemishes - tan, freckles, blackheads and liver- 
 spots — yield to its wonderful charm. 
 
 To be used in combination with the ^g PluS Ultra. 
 
 I manufacture DAINTY CREAMS, FLESH FOODS and a BEAUTY SOAP, which 
 aids greatly in building up the weakened tissues, acting as a food to the flesh, causing it to 
 become firm, the skin fine and smooth with a texture like velvet. 
 
 If the hair is gray, prematurely gray, bleached or dyed, use only the famous 
 
 Royal Windsor French Hair Restorer. 
 
 I import this from Paris, and I am the sole agent for the United States. This restorer is a 
 colorless liquid (not a dye) and will restore the hair of every individual to its original color, 
 being applied to the roots of the hair only. Please read the following letter from Mme. Sarah 
 Bernhardt, the greatest artist of this century, recommending my preparations to all other artists : 
 
 A 
 
 ~(^^<ji^a^oJc.<-t 
 
 t^VXJL^, (^^^X^n^O-iC.i-i^LJl-' 
 
 m. 
 
 O—i/C-'t-^ 
 
 
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 CL.^Z^C^-C'CC?w<--C-0- CL.^Z^Z_- 
 
 4-'i-<^ 
 
 PL-o-iui^ 
 
 f 
 
 O^iA^ 4JLi-- 
 
 ill H 
 
 CL-O^t^ K-^XJi^n^CLA^ '^x-CUt: 
 
 x>-n^ 
 
 *-K-, 
 
 NOTICE — Goods sent to every part of the world. Sealed circu- ^ y^r^ ,. ^•-. -^ gV;^ - _ .^^ - k-^^ 
 
 lars sent free, containing testimonials and price-list. "Vr " ""*" " " y'^ 
 
 MME. CAROLINE, Payors: 223 6th Ave., New York, 
 
 y (j e^e-e_-oo^e^ in^^^iJ, e-c5-<'Vt_^tl-'C*'i--t_e_*<^Co- , 
 
Tbis spzicc 15 reserved for 
 THE JEMKINS CYCLE CO., 
 
 CHICAGO. 
 
I ^ i>t it Jt rt Ji ^ I 
 
 Sulphur Baths 
 
 A Veritable At H 01116 
 
 Luxury.... =^=^= 
 
 — Restoring Healch, Whitening the 
 Skin and imparting to it a velvety 
 softness. One bottle of Sulphume 
 makes 12 baths. 
 
 Powdered sulphur is hard to as- 
 similate and unpleasant to take. 
 
 SULPHUME 
 
 Is simply sulphur 
 In liquid form. 
 
 SULPHUR 
 
 has been known 
 for ages as the 
 best remedy 
 for 
 
 Rheumatism 
 Skin Diseases '" 
 Impure Blood 
 
 and 
 Kidney 
 Troubles 
 
 Sulphur 
 
 had >, 
 
 heretofore K« 
 
 been 3^ 
 
 supposed 1 
 
 to be 
 
 insoluble 
 
 but we 
 
 discovered 
 
 the secret of reducing it 
 
 to liquid. 
 
 Sulphume Soap 
 
 is the only genuine Sulphur 
 SoHp, because we nre the only 
 firm in the world who possess 
 the BBuret of dissolving Sul- 
 phur. ItB effect upon the skin 
 iBmaryelous. 
 
 ^f^nt Pff^^* SULPHUME Book, telling all about 5ulphur and how Sulphume 
 A^ii^iii. 1 1 tc^. (liquid sulphur! was discovered; also letters from prominent 
 people telllns: what Su'phume has done for them. Ask your dru^s^lst for Sulphume 
 
 or send $1.00 for bottle, carriage prepaid 
 
 SULPHUME COMPANY, 
 
 marine Building, Cliicago 
 
Acker's Pure Bon=Bons. 
 
 ALWAYS FRESH. ^ 
 
 ••• Finest in the World •••• 
 
 Expressed ot mailed direct from our factory to any address in the United States. 
 Special attention called to 
 
 AcK^r'j $ 1 .00 Express Box Pure Don-Bops an«l Qbocolat^s. 
 
 THUS BOX contains one and one-half pounds of the 
 dainiiest and choicest collection of Pure Chocolates and 
 Bon-Bons ever offered. The inside box is pure white 
 and this is enclosed in an outside wooden box, with hinged lid, 
 which carries the candy in absolutely perfect condition as far 
 west as California. 
 
 This Box is delivered to any point in the United States for 
 one dollar, and the following extracts from the many postal 
 cards received by us indicate the pleasure they have given the 
 receivers. 
 
 This package is one of the most pleasing gifts that can be 
 made to friends at a distance. 
 
 $1.00 EXPRESS BOX 
 ACKER'S PURE BON-BONS. 
 
 Oakland, California. 
 Messrs. Finley Acker &* Co.: — Box of candy received a few days since, 
 pronounced by the young ladies of the house most delicious. 
 
 (Signed) M. 
 
 Elmira, N. Y. 
 Messrs. Finley Acker fir" Gj..-— The goods you sent me arrived in perfect 
 
 condition, and were highly satisfactory. * (.Signed) M. M. 
 
 Prescott, Arizona, 
 Messrs. Finley Acker &r> Co.: — "Best I ever ate." 
 
 (Signed) E. J. H. 
 
 Calabasco, Arizona. 
 Messrs. Finley Acker &* Co.:— The box of candies came to me in splendid 
 condition, and I was more than pleased with their excellent quality and the 
 pretty and tempting way in which they were put up. 
 
 (Signed) L. J. S. 
 
 New York City. 
 Messrs. Finley Acker fr" C?..*— Chocolates, etc., received in perfect con- 
 dition. Quality quite equal in my opinion to those of the best makers I pur- 
 chase of m this city at a much higher price. Your system of packing is certainly 
 unique and a great success. I congratulate you and shall decidedly send you 
 further orders. (Signed) E. S. 
 
 Pension Bureau, Washington, D. C. 
 Messrs. Finley Acker fiH Co.: — The box of candy ordered by me arrived 
 this A,*M. in perfect condition. I have '"sampled" its contents, and take 
 pleasure in saying that I find them delicious — incapable of improvement. 
 
 (Signed) F. E. W. 
 
 Drayton Island, Fla. 
 Messrs. Finley Acker Sp' Co.: — The box of candies was duly received, and 
 the ladies who ate them were enthusiastic in praise of them. Thanking you, I 
 remain, very truly yours, . (Signed) W. P. \V, 
 
 Send one trial order. Absolute satisfaction guaranteed or money refunded* Address 
 
 FINLEY ACKER & CO., 
 
 121 and 123 N. 8th Street, 
 
 -PHILADELPHIA, PA. 
 
ff 
 
 Imp^cial 
 
 Antiseptic Toilet JVash. 
 
 Exhilarating Deodorizer. 
 Universal Antiseptic. 
 
 Absolute Disinfectant. 
 
 A healthful and cleansing mouth wash. A heal- 
 ing and soothing lotion. Refreshing and luxurious 
 in the bath, leaving the skin '""^"'""'^rrHTvTiXpriuuh:™' 
 
 Imperial Hygenique Fluid Co. 
 
 \Tfa|TTf»'#-«r rnf^olc Cuin ^fllT^I'l/^riC Gentlemen: — I have examined the formula of 
 
 VV-^IVS^LJ. XJ.V^aid 9JV111 ^1 UJ^LlV^lia, Imperial Hygenique Fluid, and have also analyzed 
 
 a sample of the Fluid. It is entirely free from all 
 ^-■.^^n ^^.^-r^-^^ l«^-,J^^l«^ t>.,«.I^^„ poisonous mineral salts and is a powerful anti- 
 cures nervous neaaacne. r urines septic and gemnddcweu adapted to accomplish 
 
 what is claimed for it. 
 . l • £" A-\ 1 J * Respectfully yours, 
 
 the air or the boudoir. r h chittenden. 
 
 Prof. Physiological Chemittrf. 
 
 MAY BE OBTAINED OF ALL DRUGGISTS. 
 
 MA.NUKA.OTURB5D BY 
 
 Tfte Itfifiertaf Hg^enicitie Fftiid C^o*^ 
 
 61 BEEKMAN ST., NEW YORK, U. S. A. 
 
"^^ 
 
 -^ 
 
 -f^^-^ 
 
 -^9=! 
 
 icre 
 
 one 
 
 BERNHARDT 
 
 and 
 
 one 
 
 Pears Soap 
 
 BERNHARDT V5E$PtAR5*$OAP 
 
 AND FINI>$ IT MORE PLEASING 
 AND SATISFYINO THAN ANYTHING 
 ELSE FOR THE TOILET 
 
 SHE SXfS 
 
 lITISSIMPIYPfRffg