href="@public@vhost@g@gutenberg@html@files@39861@[email protected]#AYCARD" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">Pen and Ink Portrait, by

MEMOIR OF THE COUNTESS DE ROSSI.

WHETHER in rapid memoir or in ponderous biography, the life-sketcher or the chronicler must always fain behold the object before him as a model endowed not only with surpassing moral and physical beauties, but with that individuality of genius, and that peculiar destiny, which separate the few from the crowd. To the readers remains the duty of acting as those did who were wont to attend the triumphs of Roman conquerors, and urge the deduction of their mistakes and misdeeds—or, as the "Satanic advocate" in the process of canonization in the Pope's court, show how much more of a sinner than of a saint was the mortal about to pass into the heaven of human invention. Although, thus, well aware of how much our trifling office here is prone to exaggeration, we feel that there is no fear of transgressing in the present case, and that the readers will rather feel how much below than above the truth we remain.

The Countess Rossi is as clearly fitted to be the heroine of a memoir of real life, as she is of being the heroine of a lyrical drama on the fictive scene. Those who will read this sketch will, we think, behold in her all the characteristics of a special and elevated nature—one marked amongst mankind, framed for its admiration and for its model. We have the striking attributes of a special nature manifest and effulgent even in infancy; we see them defying the obstacles of fortune, and constantly rising in power. We behold them in their utmost effulgence—first on the stage, and next in the highest regions of society, and, ultimately, tried by adversity. From beginning to end, the power and the effulgence remain ever the same, fitted for all positions: wherever it is placed, it continues unsullied and undiminished.

Having set forth our claims to the attention of those to whom we address ourselves, we shall now rapidly trace the outline of the singularly eventful career of Countess Rossi. The interest its moving incidents, so singularly varied, have always inspired, are now increased tenfold by new features, totally unparalleled in the history of the lyrical stage. To behold this distinguished lady return to the stage, after enjoying undisturbed for many years, and in the most exalted rank, the love and esteem of the greatest personages of Europe, is a truly singular and affecting event; but to behold her return, after this lapse of time, with all her powers not only unimpaired, but improved by taste, study, and observation, is an event without an example. If, to take the exact measure of this phenomenon by comparison, we turn to the very few who were her contemporaries on the stage, what do we behold? If asked how so extraordinary a fact happens to exist, those who have had the good fortune to know the Countess Rossi will readily explain it. The first reason and first cause are, that this lady possesses a remarkably well regulated mind—gentle in all things, ever resigned, and possessed of unruffled patience; and her feelings, controlled by the most virtuous sense of right, have never been agitated by those passions which most of all beset stages and courts, and are the most insidious and dangerous assailants of those who are the constant objects of adoration.

To these might be added other aiding causes, but of no little potency. For the sake of brevity, we shall only mention two: the first is, that the Countess Rossi's voice is a pure and perfect soprano, of the highest register, from the first settlement of her voices—it is "to the manner born." Thus she has never been compelled to superadd to her studies of vocal science those efforts by which most of the greatest vocalists have been obliged to transmute their contralto or mezzo soprano tones, to polish their guttural or husky tones, and—almost all of them—extend artificially their register. On the other hand, during her long secession from the stage, the love of musical art has always remained predominant, and its