The New York herald., 1876-01-28
OBITUARY..
FREDERICK LEMA1rRr. THE ACTOR.


A cable telegram from Pars dated yesterday, an
the DEATH al the advanced age
years Of Frederick LemAtre the original Of that many
sided character Robert Macare and perhaps one the
most popular as he of the greatest actors Of
the present century Frederick Lematre was born at
Havre in July, l7eS His father and mother being
themselves renowned comedians, he destined TO
follow the same family profession. After having thor
oughy studied classical literature he learned decama
on at the Conservatore OF Paris where the celebrated
Lafoy, discovering in young Lematre the stun for
great artist devoted 10 him particular attention He
maze his first appearance at the 0deon but in spite
Of Talma's sympathes, he was refused place
among the staff OF this theatre and forced 70 play
at other theatres til 1926, when he was engaged for
the odeon, and played in "Narcisse and Theramene +"
Al end Of year he appeared the Porte Saint
Martin, where he at once achieved prominent repu-
tation with 'Irente Ans GU Ia We dun JOueur " Not
willing TO bind himself for long period 70 any partcu
lar theatre he wandered from place 10 place during his
whole artistic life. Lies Comedensn and "Peblo, >, at
Ambigu, and ia Marecnae dAncre'' and ''Le
Nome al the Odeon, filled the years 1880 and 1881
In 1882 he created his immortal character OF Robert
Macare in the play OF that name and OF which he
the author associated with Autier and ST Amand In
1884 Alexandra Dumas and Victor Hugo added to his
already Immense celebrity with Richard darlington"
and "Lucrezia Borgia -
In 1885 Frederick IAmaitre made tour in England,
where he obtained quite triumph. He then returned
10 Paris and created Kean in the drama of that name
by AleXandre DumaS. when the success OF tnat play
was exhausted he opened the new theatre OF La
Renaissance, Of which he made the fortune by his
grand Representations OF Victor Hugos Ruy Bias.
After few temperatures at the Ambigu and Porte
saint Martin he made his debut IN 1872 at the ComGde
Francaise, in 'Othello well as IN "BrunehAut OF
FredegOndeh y classical tragedy. He met complete
failure the peculiarly and accdented nature OF
his talent being quite unit for the severe and rather
cold lines OF the repertory. He created Don
Cesar de Bazan and at the Porte Saint
a iumpha ovation which soon threatened 10 de-
generate into enee against the police Troops and
cffILe
audience dispersed, and IL was three days after
when the production oil 'Don Cesar took place. In
1S45 he returned London where his Robert Macaire
made him almost as popular among the cockneys as
he already with the badaudR On his
ia Dame de ST. Tropez Aiterward Balzac,
having adapted for the stage, expressly for him,
his "Derniere Incarnation de Vautrain " Lemaitre ap
peared in the character OF Vautran at the Porte Saint
Martin, but the malicious artist in close concert with
Balzac had admirably made up his ace' that when
he rst appeared there was but one exclamation from
the pit 10 the upper galleries. among the 1900 persons
present. "L0uis Philippe! Cest Ia potre FIJI ~
This an unparalleled triumph in the art OF grimace
but although protector OF the citizen king did not
like and the play was suppressed on the very next
day.
ON the o3d of February ISis Lemaitre was playing
a. the same theatre ''rhe Chlfonner de Paris" a
drama Of strong socialist tendencies and written by
Felix Pyat when the news reached the side scene Of
the unexpected slaughter that was going between
the troops and the mob on the boulevards The
crowded audience confident Of the harmonious settle
ment OF the reform movement which had cuim mIated
by the retreat Of Guizot far from suspectng any
thing of the kind when between the second and third
acts the cartain and Lemaitre half dressed pale
with emotion holding gun his hand, rushed the
front of the stage and in striking attitude excaimed:
Citizens, what are you doing hereY Don't you know
that your brothers shedding their blood for the
sake OF public lbertiesY Why, you stupid people,
do you remain here to look as my faces
and listen 10 my ncnsensesY Come with me-
at outside and let us play ctzenliKe part
in the great drama the epogue Of which must be the
apoheosis OF the people And the great actor In his
costume OF ragpicker to the barricades, behind
which he stood with the populace till Vautrain the
Frst' fed from the Tuileries Many pieces were sub
sequently produced by the interchangeable artist,
impressed upon each OF the plays the seal OF his power
ful originality After several years Of absolute retire
ment from the stage consequent upon the tragic death
OF his only son, Charles Lemaitre who while deiirous
with fever, threw himself out of the window Of his
apartment Lemaire reappeared the theatre of his
greatest triumph La Porte Saint Martin in 1865 al the
age Of seventy years. He exhumed several of his
popular plays, and, although his voice weak
ened that he could hardly be heard from the orchestra
yet the magnificent expression OF his mobile phystog
nomy and the commanding authority Of his gestures
such render his acting attractive than
that of any other artist The Emperor Napoleon III
had conferred upon him the decoration Of the Legion
OF Honor besides annual pension out OF the pubic
treasury This proved 10 be the only OF the
iustrous predecessor Kean lone OF his best charac-
tersl Frederick Lematre combined 70 equal degree
the features OF modern Bohemanism.